Talking Movies

May 21, 2018

From the Archives: Fool’s Gold

A dive into the pre-Talking Movies archives reveals a true nadir that may well have inspired the mending of his ways that became the McConnaisance.

It’s rare that a film can cause vitriol to dry up, but this film fails so comprehensively that it is hard to know where to begin. So I shall start with accents, to groan hereafter at everything else. Donald Sutherland is meant to be British and so intermittently adopts the sort of plummy accent used by toffs in the 1950s, the rest of the time he uses his normal accent. Why he is in this film is a mystery. We should all thank God that he accepted the great role of Tripp Darling in Dirty Sexy Money which should keep him too busy for the foreseeable future to do dreck like this. Ewen Bremner is meant to be Ukrainian which he plays by adopting the sort of super-Scottish accent which English people have always thought sounded rather Polish. Ray Winstone meantime is distractingly trying to hide his cockney inflections behind a Kentucky Fried accent.

Matthew McConaughey tries his damndest to do his best Owen Wilson impersonation but fails miserably while Kate Hudson who is at least semi-conscious has the good grace to look miserable throughout in obvious shame at having stooped so low for the sake of an easy paycheque. To say this film fails is to state the obvious. It’s not a romantic comedy or an action adventure or any combination of the above. Its tone veers wildly and it appears to be terminally confused as to whether it’s pitching for a 12s audience or a 15s audience. There are only three laughs in the entire film. Two of which are provided by Kate Hudson hitting annoying men very hard with blunt objects. First she knocks out McConnaughey with a walking stick (more of that sort of thing!) and then nearly castrates the uber-annoying walking cliché gangsta rappa with a well aimed shovel blow while on a motorbike. The third act offers some perfunctory satisfaction as various plot machinations finally click but this is a thoroughly disheartening experience.

What really baffles is how all concerned could have gone through a whole film-shoot making something they knew to be rubbish. Did no one have the guts to stand up and demand an on-set rewrite to inject some good lines into the mechanically plotted proceedings at least?

0/5

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March 12, 2018

Run now, to ITV 4, and watch The Avengers in colour!

In Colour! Sorry. They do like to point it out though. And also change colourful clothes every other scene to showcase the full spectrum of 1967’s new colour broadcasting technology. The real reason you should watch is because season 5 is so damn good. Tune in tomorrow evening and you will see a superlative episode starring alongside Patrick MacNee and Diana Rigg the following greats in their youth: Brian Blessed, Charlotte Rampling, and Donald Sutherland.

But don’t just stop watching with ‘The Superlative Seven’.

Season 5 is the season where every cold open featuring the usually bizarre murder is followed by Steed alerting Mrs Peel to the fact that they’re needed in some absurd fashion. Indeed one imagines they stopped opening the show in that fashion because even with the fertile imagination of their writers they’d simply run out of improbable/insane things for Steed to do. Things like – putting the message “Mrs Peel – We’re Needed” in the traffic lights as they change in front of Mrs Peel’s car, putting it as a headline in a newspaper she buys, putting it behind the wallpaper she’s stripping off her apartment wall, putting it on a carousel, etching it into her painting, shooting it on an arrow into her apartment, appearing on her TV set in colour to say it while she’s watching an old black and white episode of … The Avengers.

December 2, 2016

Hail the 1930s Generation!

Leonard Cohen’s morbid remarks about waiting for death some weeks before his death had made me think about the 1930s generation who were actively working and not thinking about death. So the day that Clint Eastwood (86) releases his latest film Sully into Irish cinemas, and a day after Woody Allen turned 81 having recently made his first TV show, I thought I’d round up some people born in the 1930s who are still very much alive and well and working as hard as ever.

Clint Eastwood

sully

Woody Allen

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Donald Sutherland

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Glenda Jackson

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Michael Caine

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James Earl Jones

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Vanessa Redgrave

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Martin Sheen

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Dustin Hoffman

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Anthony Hopkins

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Maggie Smith

Downton Abbey Season 2 on MASTERPIECE Classic, Part 4 - Sunday, January 29, 2012 at 9pm ET on PBS; Shown: Maggie Smith as Violet, Dowager Countess of Grantham; (C) Carnival Film & Television Limited 2011 for MASTERPIECE This image may be used only in the direct promotion of MASTERPIECE CLASSIC. No other rights are granted. All rights are reserved. Editorial use only.

Ian McKellen

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Quincy Jones

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Harvey Keitel

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Morgan Freeman

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Diana Rigg

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William Shatner

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Robert Redford

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Ridley Scott

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John Williams

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Judi Dench

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Judd Hirsch

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George Takei

Heroes

Philip Glass

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Lily Tomlin

Jane Fonda

Terence Stamp

Derek Jacobi

Eileen Atkins

Steve Reich

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November 18, 2015

Mockingjay: Part 2

The Hunger Games saga comes to a conclusion with a hugely enjoyable film that unleashes some surprises before it succumbs to Peterjacksonitis in actually ending.

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Katniss (Jennifer Lawrence) is recovering from a brutal attack by her brainwashed beau Peeta (Josh Hutcherson). As the medics of District 13 try to deprogramme him from the sadistic conditioning inflicted by President Snow (Donald Sutherland), Katniss is frustrated in her quest for vengeance by rebel President Coin (Julianne Moore); who insists on keeping her off the front lines. But when Katniss goes AWOL it’s not very AWOL as Coin and Plutarch (Philip Seymour Hoffman) form a propaganda core around her including Peeta, childhood friend Gayle (Liam Hemsworth), film-maker Cressida (Natalie Dormer), and fellow Victor Finnick (Sam Claflin). But their mission to make propaganda just behind the frontlines and Katniss’ wish to assassinate Snow personally soon lead to chaos and tragedy.

Mockingjay: Part 2 is tonally quite different to last year’s Mockingjay. Director Francis Lawrence and cinematographer Jo Willems shoot it with huge assurance, but it never really establishes what kind of new iteration of Hunger Games movie it wants to be. Instead it feels like the propaganda war of the last one, mashed together with a ‘guys on a mission’ movie to give more action beats to the story. And that’s before we get to how it really falls prey to the Lord of the Rings curse of not knowing how to get off the stage. But that’s not to say there is not much to love here. The location shooting in Paris and Berlin is terrific, rendering the deserted Capitol a fitting venue for the ’76th annual Hunger Games’ as Finnick dryly dubs Snow’s desperate gambit to booby-trap his own city.

Ocean’s 11 production design Philip Messina has worked on all the Hunger Games movies, and his work here completes the fleshing out of the Panem universe that began with the bigger budget of Catching Fire. Francis Lawrence showcases some agonisingly suspenseful directing in a sequence where the suicide squad (sic) are attacked by Capitol mutts in the sewers. It is a marvel from start to finish, with the claustrophobic tunnels lit minimally while the tension builds reminiscent of Alien, while the action makes you think this was what Alien Resurrection might have been aiming for in its trademark episode. Lawrence’s love of complicated villains also continues with Donald Sutherland working wonders with his six scenes as he sows doubts in Katniss’ mind, and the film embraces a deeply cynical view of messianic leadership.

Mockingjay: Part 2 could have been leaner, but it could scarcely have been meaner, and it comes out fighting for most of its running time.

3.5/5

October 2, 2015

9 Days of 90s Horror

Hallowe’en comes to the Lighthouse with 9 days of 90s horror films from 23rd to 31st October culminating in a Scream-themed party before a screening of the late Wes Craven’s third reinvention of horror cinema.

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While the IFI’s Horrorthon unleashes a slew of new genre entries, the Lighthouse will hark back to the 1990s; the origin of the ‘ironic slasher’ sub-genre which was murdered by torture porn, and found-footage, which, like many a horror bogeyman, just won’t die. In association with the Bram Stoker Festival the 90s Vampire strand brings Francis Ford Coppola’s 1992 adaptation of Stoker’s text back to the big screen, placing it beside other 90s vampire movies Blade, From Dusk Till Dawn, and the original iteration of Buffy the Vampire Slayer. The most important film being screened, however, is Scream. Wes Craven redirected the current of horror cinema three times: Last House on the Left, A Nightmare on Elm Street, and Scream. Teamed with razor-sharp screenwriter Kevin Williamson he delivered a totemic movie well worthy of a Scream-themed Hallowe’en night costume party.

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FROM DUSK ‘TILL DAWN

Friday 23rd October 10:30pm

Quentin Tarantino and Robert Rodriguez’s first blood-soaked collaboration is presented in a digital restoration; that won’t make QT happy… A grimy, violent B-movie about a seedy Mexican bar that happens to be crawling with vampires this had its origins in VFX guys wanting a showcase script for their handiwork. So, after some quintessentially Tarantinoesque build-up, with fugitives George Clooney and Tarantino trading taunts and riffs with their hostages Harvey Keitel and Juliette Lewis, Rodriguez’s aesthetic takes over: Salma Hayek and energetic mayhem.

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BLADE I & II – (Double Bill)

Saturday 24th October 9:00pm

Never let a high concept get in the way of a good double bill! Guillermo Del Toro’s 2002 sequel sees humans and vampires form an uneasy alliance to defeat the mutated vampires known as ‘Reapers’, who threaten to infect and/or eat everyone. But first we have to see Wesley Snipes’ vampire superhero take down Stephen Dorff, with some help from Kris Kristofferson, in the 1998 debut of the ‘Daywalker’. All together now: “Some motherf****** are always trying to ice-skate uphill.”

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BUFFY THE VAMPIRE SLAYER

Sunday 25th October 10:30pm

Nothing bad is ever Joss Whedon’s fault. That trope began here. His script for this 1992 teen comedy was apparently neutered in production, leading Whedon to dream it all up again for TV; where, even as show-runner, season 4 was also somehow not his fault. Buffy’s cinematic origin story isn’t a patch on the TV development, and, while Donald Sutherland’s Watcher and Rutger Hauer’s Master Vampire add class to proceedings, this is more interesting as a time capsule (Look! It’s Luke Perry!).

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BRAM STOKER’S DRACULA

Monday 26th October 3:30pm

Director Francis Ford Coppola’s screenplay differs wildly from Stoker’s book. Coppola fixated on a ‘true love never dies’ doppelganger love story between Gary Oldman’s Count and Winona Ryder’s Mina Murray, that shaped Jonathan Rhys-Meyers’ recent steam-punk TV adaptation. Cast adrift amidst outré sets that bellow their obvious artifice, Anthony Hopkins as Van Helsing and Keanu Reeves as Jonathan Harker try to ground things, but the best verdict remains Winona Ryder’s acidic “I deserved an Oscar for the job I did promoting that movie…”

Silence

SILENCE OF THE LAMBS – (Cinema Book Club)

Tuesday 27th October 8.00pm

The Halloween edition of the Lighthouse’s Cinema Book Club is Jonathan Demme’s film of Thomas Harris’ best-selling chiller. Harris’ universe has been thoroughly mined, most recently in Bryan Fuller’s hallucinatory series Hannibal, but this 1991 Oscar-winner was the breakthrough adaptation. Jodie Foster’s FBI rookie Clarice Starling and Anthony Hopkins’ imprisoned cannibal Hannibal Lecter are indelible performances. It’s become fashionable to disparage this in favour of Manhunter, but there’s a reason few people ever saw Brian Cox as Hannibal Lecter…

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THE BLAIR WITCH PROJECT

Wednesday 28th October 8.30pm

The greatest horror producer of the 21st century Jason Blum passed on this at Sundance, and has been kicking himself ever since. Some people at early screenings in 1999 thought that this was real; giving its unnerving ending enough power to create a buzz that made it a sensation. It wasn’t real. It was, however, the moment where found-footage horror stomped into the multiplex and declared it would never leave, all because of an unsettling walk in the woods in Burkettsville, Maryland.

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WES CRAVEN’S NEW NIGHTMARE

Thursday 29th October 8.30pm

Wes Craven wrote and directed this late meta-instalment in the franchise he had kicked off with his original vision of Freddy Kreuger. Heather Langenkamp, Nancy in 1984’s Nightmare on Elm Street, plays herself; plagued by dreams of a Freddy Kreuger far darker than the one portrayed by her good friend Robert Englund. Featuring cameos from several of the original cast and crew Craven produces a postmodern musing on what happens when artists create fictions that take on a life of their own.

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CANDYMAN

Friday 30th October 8.30pm

Bernard Rose’s cult classic, an adaptation of genre legend Clive Barker’s The Forbidden, follows a thesis student who is researching urban legends. Unfortunately for him he discovers the terrifying world of ‘Candyman’, the ghost of a murdered artist who is summoned by anyone foolish to say his name out loud into a mirror five times. Masterfully made, still absolutely terrifying, and the reason we all cheer whenever Tony Todd makes a cameo ever since, this also features the unlikely bonus of a Philip Glass score.

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS, Kathy Najimy, Bette Midler, Sarah Jessica Parker, 1993

HOCUS POCUS

Saturday 31st October 3.00pm

A token film for the kids is 1992’s Hocus Pocus. Why the misfiring hi-jinks of Bette Midler, Sarah Jessica Parker, and Kathy Najimy’s trio of Salem witches is perennially on TV is a mystery, but to present it as the essential kids’ Hallowe’en film is an enigma wrapped inside a riddle. Especially when Nicolas Roeg’s film of Roald Dahl’s The Witches, starring a scary Anjelica Huston as the Grand High Witch, dates from 1990…

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SCREAM I & II – (Double Bill & Party)

Saturday 31st October 9.30pm.

Neve Campbell confidently carries this 1996 classic, a blackly hilarious self-aware dissection of slasher clichés which is also a brilliant slasher filled with tense sequences. Williamson’s delicious dialogue (“Movies don’t create psychos, they just make psychos more creative…”) is brought to memorable life by an ensemble on truly top form, with star-making turns from Jamie Kennedy, David Arquette, Rose McGowan, and Skeet Ulrich. 1997’s sequel isn’t quite as good, but Kevin Williamson’s dialogue remains a joy, there are some nail-biting moments, it’s as subversively self-aware as 22 Jump Street of its sequel status, and uses Timothy Olyphant, Sarah Michelle Gellar, Jerry O’Connell, and David Warner to great effect.

‘9 Days of 90s horror’ ends with a Scream-themed Hallowe’en party preceding the Scream double bill, beginning at 8pm. Dress as your favourite 90s horror icon and enjoy the ironically-named cocktails, soundtrack of 90s hits, and general japery all related to Wes Craven’s classic slasher.

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TICKETS FOR 90S VAMPIRE FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8323

 

TICKETS FOR 90S HORROR FILMS:

http://www.lighthousecinema.ie/newsarticle.php?sec=NEWS&_aid=8455

February 27, 2015

Paper Souls

Belgian director Vincent Lannoo displays a more whimsical side to his usual blackly comic preoccupations in this absurdist Parisian rom-com.

Paper Souls

Paul (Stephane Guillon) is a depressed novelist, still mourning the death of his wife 5 years previous. But that’s not why the start of the movie finds him in a cemetery. He’s there to observe Madame Thomassin (Marie-Jeanne Maldague) deliver an acerbic graveside eulogy for her late husband; said eulogy being the handiwork of Paul. Afflicted with writer’s block he has not written anything except eulogies since his wife died. Thomassin’s niece Emma (Julie Gayet) approaches him to write about her late husband Nathan (Jonathan Zaccai), a photojournalist killed in Mauritania a year before, as an 8th birthday present for her son Adam (Jules Rotenberg), who is in denial that Nathan is dead. Paul accepts the job, despite pressure from his neighbour Victor (Pierre Richard) to hop in bed with the attractive widow. And then Nathan appears at his door…

From the first strains of a clarinet-heavy jazz score there’s a definite Woody Allen vibe off of this French/Belgian co-production, but not in the sense of Sophie Lellouche’s Paris-Manhattan. Whereas Lellouche successfully set up Allen scenarios, only to channel the vibe without the one-liners, TV writer Francois Uzan’s screenplay is at times riotously funny. Claudine Baschet’s Hortense, who keeps her stuffed dead cat on display, and listens to Paul’s eulogies about her on her iPod is a delightful supporting character. But it is Pierre Richard who steals the show as Paul’s elderly Jewish neighbour Victor, whose research into the Warsaw Ghetto is continually derailed by his need to meddle in Paul’s love life with endless ‘helpful’ nagging. Victor’s trip to the shops with Paul is a minor masterpiece. And that’s before addressing the return of amnesiac Nathan from the dead.

Paper Souls plays the return of Nathan, rudely interrupting the romance of Paul and Emma, totally deadpan. The question of how Nathan could have been mistakenly buried alive sees such daft reactions as local guide Diarra (Alain Azerot) musing that sometimes in Mauritania people come back, if they have a door to close. The treatment of totally nonsensical moments as perfectly normal at times emulates Allen’s similar treatments of the fantastical in Purple Rose of Cairo and Deconstructing Harry. And, to boot, Lannoo stages some wonderful slapstick as Paul attempts to sneak Nathan around Paris, without Emma or Adam seeing him, in an attempt to jog Nathan’s memory. Paper Souls then does something rather unusual. It leaves comedy behind and embraces full-blown magic realism. It’s a bold move, and is quite a gear change, but it achieves an affecting ending.

Paper Souls showcases a fine supporting turn from Pierre Richard (in what would be the Alan Arkin/Donald Sutherland role in a remake) and manages to combine rather good comedy with unexpected and affecting drama.

3.5/5

February 4, 2015

2015: Hopes

Filed under: Talking Movies — Fergal Casey @ 7:22 pm
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Chappie

The Water Diviner

Russell Crowe makes his directorial debut with a timely WWI tale about the formative trauma for the Antipodes of the slaughter of the ANZAC in Turkey. TV writer/producers Andrew Knight and Andrew Anastasios provide the screenplay, which is a step away from their usual crime caper comfort zones, in which Crowe travels to Gallipoli in search of his three missing sons in 1919. He is aided in this likely fool’s errand by Istanbul hotel manager Olga Kurylenko and official Yilmaz Erdogan, while familiar Australian faces like Damon Herriman, Isabel Lucas and Jai Courtney round out the cast.

 

Chappie

Hugh Jackman and Sigourney Weaver are career criminals who kidnap the titular character and raise him as their own adopted son – but he’s a robot! Yeah… This peculiar feature is definitely a change of pace for writer/director Neill Blomkamp but it’s not clear from his first two features District 9 and Elysium whether he has the chops for a smart sci-fi crime comedy mash-up. District 9 was a gore-fest with a hysterically muddled message about apartheid, while Elysium was an embarrassing, illogical call to arms for Obamacare. Jackman’s been on a bit of a roll though so fingers crossed.

 Furious 7 Movie Poster

The Gunman

March 20th sees Sean Penn attempts a Liam Neeson do-over by teaming up with Taken director Pierre Morel for a tale of a former special forces operative who wants to retire with his lover, only for his military contractor bosses to stomp on his plan; forcing him to go on the run. The lover in question is Italian actress Jasmin Trinca, while the organisation and its enemies have an unusually classy cast: Idris Elba, Javier Bardem, Mark Rylance, and Ray Winstone. Morel will undoubtedly joyously orchestrate mayhem in London and Barcelona, but can he make Penn lighten up?

 

Furious 7

The death of Paul Walker delayed his final film. Following the death of Han, Dom Torreto (Vin Diesel) and his gang (Walker, Jordana Brewster, Ludacris, Michelle Rodriguez, Tyrese Gibson, Dwayne Johnson) seek revenge against Deckard Shaw (Jason Statham as the brother of Fast 6’s villain). Chris Morgan pens his third successive Furious screenplay but, apart from dubious additions like Ronda Rousey and Iggy Azalea to the cast, the main concern is how director James Wan (The Conjuring) will rise to the challenge of replacing Justin Lin. Wan can direct horror but how will he handle Tony Jaa’s chaos?

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John Wick

April 10th sees the belated release of Keanu Reeves’ acclaimed low-fi action movie in which his sweater-loving retired hit-man wreaks havoc after his dog is killed; it being his last link to his dead wife for whom he’d quit the underworld. M:I-4 villain Michael Nyqvist is the head of the Russian mob who soon discovers his son Alfie Allen has accidentally unleashed a rampage and a half. Chad Stahelski, Reeves’ stunt double on The Matrix, directs with a welcome emphasis on fight choreography and takes long enough to make the action between Reeves and Adrianne Palicki’s assassin comprehensible.

 

Mad Max: Fury Road

Well here’s an odd one and no mistake. Original director George Miller returns to the franchise after thirty years, co-writing with comics artist Brendan McCarthy and Mad Max actor Nick Lathouris. Max Rockatansky is now played by Tom Hardy channelling his inner Mel Gibson, roaring around the post-apocalyptic Australian Outback with Charlize Theron and Nicholas Hoult. This does look like Mad Max 2, but it’s not a remake; merely an excuse to do Mad Max 2 like sequences of vehicular mayhem but with a huge budget for the mostly practical effects, and some CGI sandstorm silliness.

Jurassic World

Jurassic World

Jurassic World opens its gates in June, boasting an all-new attraction: super-dinosaur Indominus Rex, designed to revive flagging interest in the franchise park. From the trailer it appears that in reviving this franchise new hero Chris Pratt has combined the personae of past stars Jeff Goldblum and Sam Neill. Bryce Dallas Howard meanwhile takes over Richard Attenborough’s presiding over disaster with the best of intentions gig. Apparently there will be some animatronic dinosaurs, but the swooping CGI shots of the functioning park emphasise how far blockbuster visuals have come since Spielberg grounded his digital VFX with full-scale models.

 

Mission: Impossible 5

July sees Tom Cruise return as Ethan Hunt for more quality popcorn as Christopher McQuarrie makes a quantum directorial leap from Jack Reacher. Paula Patton is replaced by Rebecca Ferguson, but Jeremy Renner, Simon Pegg, and Ving Rhames all return, as do Robert Elswit as cinematographer and JJ Abrams as producer. The trademark stunt this time appears to be Tom Cruise hanging onto the side of a flying cargo plane, the villain is possibly Alec Baldwin’s character, and the screenplay is by a curious combo of Iron Man 3’s Drew Pearce and video game writer Will Staples.

ST. JAMES PLACE

St James Place

October 9th sees the release of something of an unusual dream team: Steven Spielberg directs a Coen Brother script with Tom Hanks in the lead. Hanks plays James Donovan, a lawyer recruited by the CIA to work with the Russian and American embassies in London in 1961 after Gary Powers’ U2 spy plane is shot down. The Company hope to secretly negotiate a release for the pilot, and keep all operations at arms’ length from DC to maintain plausible deniability. Amy Ryan, Mark Rylance, Alan Alda, and Eve Hewson round out the impressive cast of this drama.

 

Crimson Peak

October 16th sees Guillermo del Toro reunite with Mimic scribe Matthew Robbins. Their screenplay with Lucinda Coxon (Wild Target) sees young author Edith Cushing (Mia Wasikowska) travel to the titular mansion of a mysterious man, who lives in seclusion in the mountains. Apparently del Toro has outdone himself with the production design of the mansion’s interior. The cast includes Supernatural’s Jim Beaver as Wasikowska’s father (!!!), Tom Hiddleston, Doug Jones, Charlie Hunnam, and the inevitable Jessica Chastain. But can del Toro, who’s not had it easy lately (The Strain), deliver a romantic ghost story mixed with Gothic horror?

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Spectre

The latest Bond film will be released on November 6th. In a hilarious reversal of prestige John Logan’s screenplay was overhauled by perennial rewrite victims and action purveyors Neal Purvis and Robert Wade. Sam Mendes returns to direct as Daniel Craig’s 007 investigates the titular shadowy organisation, which makes a most welcome return after decades of lawsuits. Christoph Waltz may be Blofeld, Daniel Bautista is definitely his henchmen, Lea Seydoux and Monica Belluci are Bond girls, and charmingly Jesper Christensen’s Mr White links Paul Haggis’ Solace and Spectre. And Andrew Scott joins the cast! Perhaps Moriarty’s a Spectre operative.

 

Mr Holmes

Writer/director Bill Condon has been on quite a losing streak (Breaking Dawn: I & II, The Fifth Estate). So he’s reteamed with his Gods & Monsters star Ian McKellen for another period piece. Adapted by playwright Jeffrey Hatcher (Stage Beauty) from Tideland novelist Mitch Cullin’s work, this finds a 93 year old Holmes living in retirement in Sussex in the 1940s troubled by a failing memory and an unsolved case. Condon reunites with Kinsey’s Laura Linney, and intriguingly has cast Sunshine’s Hiroyuki Sanada, but this will be closer to ‘His Last Bow’ or Michael Chabon’s retired Holmes pastiche?

empire-cover-jennifer-lawrence-katniss-everdeen-hunger-games-mockingjay-part-one

Mockingjay: Part II

All good things come to an end, and Jennifer Lawrence’s duel with Donald Sutherland’s President Snow reaches its climax in November with what director Francis Lawrence considers the most violent movie of the quadrilogy. Familiar TV faces join the cast, with Game of Thrones’ Gwendolen Christie as Commander Lyme and Prison Break’s Robert Knepper as Antonius, and Philip Seymour Hoffman takes his posthumous bow as Plutarch Heavensbee. The last movie shook up the dynamic of these movies with a propaganda war, so it will be interesting to see how Lawrence stages an all-out rebellion against the Capitol.

 

Macbeth

Arriving sometime towards the end of year is Australian director Justin Kurzel’s version of the Scottish play starring Michael Fassbender as Macbeth and Marion Cotillard as Lady Macbeth. That pairing enough is reason to be excited, but we’ll also get Paddy Considine as Banquo, Elizabeth Debicki as Lady Macduff, David Thewlis as Duncan, and Jack Reynor as Malcolm. Not to mention that Kurzel directed The Snowtown Murders and his DP Adam Arkapaw shot True Detective. Hopes must be high therefore that this will be both visually striking and emotionally chilling in its depiction of Macbeth’s descent into bloody madness.

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Star Wars: The Force Awakens

The movie event of 2015 arrives on December 18th. The original heroes (Mark Hamill, Carrie Fisher, Harrison Ford) and their sidekicks (Peter Mayhew, Kenny Baker, Anthony Daniels) will all be making a welcome return after the passionless prequel protagonists. Director JJ Abrams has also cast a number of rising stars (Domhnall Gleeson, Adam Driver, John Boyega, Gwendolen Christie, Lupita Nyong’o, Oscar Isaac) and a total unknown (Daisy Ridley – allegedly the protagonist!) The trailer seemed to indicate that this trilogy might actually be some fun, but Super 8 showed that fan-boys sometimes forget to bring originality.

November 25, 2014

Mockingjay – Part I

Jennifer Lawrence assumes her role as symbol of the revolution in the third instalment of The Hunger Games; which might be the best one yet.

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Katniss Everdeen (Lawrence) is suffering from the experience of the Quarter Quell even more than the trauma of the original Hunger Games; hiding in tunnels, having panic attacks, and in total denial that her home, District 12, has been destroyed. Her rescuer Plutarch Heavensbee (Philip Seymour Hoffman) has taken her to the underground bunker that houses the survivors of District 13’s destruction by the forces of the Capitol. He introduces her to President Coin (Julianne Moore), and, after, Katniss is allowed to see District 12 for herself, takes charge of turning Katniss into the Mockingjay – symbol of the Revolution. But it’s only after shooting a hysterically inept propaganda video that Haymitch (Woody Harrelson) makes a ‘Let Bartlett be Bartlett’ speech, and Katniss is allowed into combat; trailed by Plutarch’s recruit, film director Cressida (Natalie Dormer). Katniss’ raw reactions make her a weapon in a propaganda war, with President Snow (Donald Sutherland) taunting her with his own weapon – Peeta (Josh Hutcherson).

“Moves and countermoves,” as Donald Sutherland whispers, are the substance of this film; and it makes for an unusual and shadowy blockbuster. The characters in the Capitol are distanced from us: President Snow only appears 5 times, Peeta and Caesar (Stanley Tucci) are merely faces on giant television screens, other kidnapped victors are mentioned but not seen. The relationship of the air war of propaganda videos to the ground war of rebel action is shown by director Francis Lawrence utilising the ever-increasing budget to flesh out more and more of the geographical variety of the world of Panem. Loggers in District 7 rebelling against Snow’s increased quotas take up Katniss’ spontaneous rallying cry “If we burn, you burn with us” after her traumatic baptism of fire into the war in District 8. Rebels in District 5 turn Katniss’ folk-song, creatively edited by Plutarch, into a revolutionary marching song; like ‘John Brown’s Body’ morphing into the ‘Battle Hymn of the Republic’.

A long-take where Katniss walks down the ramp of a hovercraft which takes off to reveal the ruins behind her before we follow her as she walks into rubble exemplifies both Francis Lawrence’s masterful use of CGI and the exceptional sets. District 12 resembles Terminator 2’s skull-strewn future, a wave of humanity descending a spiral staircase in District 13 is rendered hypnotic, and Coin’s addresses to the populace in that bunker make you appreciate how poorly realised Zion was in the Matrix sequels. The decision to split Suzanne Collins’ novel in two is fully justified as Peter Craig (The Town) and Danny Strong (Recount, and also Jonathan from Buffy!) provide a screenplay that makes us fear anyone; including the ever stoic Gale (Liam Hemsworth); could die, ratchets up tensions for its suspenseful finale, and drops a truly creepy character detail during it to boot. Francis Lawrence rises to the challenge of creating a different type of Hunger Games movie, while Jennifer Lawrence retains Katniss’ fire while layering her with uncertainty.

Interstellar is the most intelligent blockbuster of 2014, but Mockingjay’s tactical battle might be the most interesting popcorn movie.

4/5

July 3, 2014

Trailer Talk: Part II

In another entry in this occasional series I round up some trailers for films opening in the next few months.

2011’s Rise of the Planet of the Apes was extremely successful commercially, but was a curiously mixed bag artistically. Rupert Wyatt’s direction was quite brilliant in some Hitchcockian flourishes and well-staged action sequences. But the script seemed barely written; with James Franco and Frieda Pinto playing ciphers. Andy Serkis (in motion-capture) returns as talking evolved ape leader Caesar. The world’s population having been devastated by the simian flu Caesar faces great hostility from belligerent human leader Gary Oldman, but an ally in Jason Clarke’s family man willing to talk peaceful co-existence. But peaceful co-existence don’t make for a high-stakes apocalyptic blockbuster! The focus of interest must be director Matt Reeves. Cloverfield combined spectacle with devastating emotional impact and his vampire remake Let Me In improved on the Scandinavian original. What will he fashion?

Dutch rock photographer Anton Corbijn’s third film as director seems closer in tone and look to his sophomore effort The American than stark debut Control, as he directs a John Le Carre spy thriller set in Germany. The adaptation of Le Carre’s novel comes from Lantana playwright and screenwriter Andrew Bovell which is almost as much an enticement as the stellar cast: Robin Wright, Rachel McAdams, Willem Dafoe, and Philip Seymour Hoffman’s final lead performance. The second coming of Robin Wright really is a phenomenon as worthy of attention as the McConnaissance, and this looks like another compelling performance. The late Hoffman meanwhile seems on fine form as the German spook harassing McAdams’ attorney: “I’m a lawyer” “You’re a social worker for terrorists”. Hopefully this will be better structured than the cavalier Tinker Tailor Soldier Spy.

Yep, the teaser trailer for what will probably be one of the three biggest films of 2014 manages to not mention Katniss Everdeen, show Jennifer Lawrence’s face, or even acknowledge the existence of the previous two films. Intentionally, of course, as it’s a Capitol propaganda film with Donald Sutherland’s kindly old white-bearded President Snow sitting in a white room, flanked by Josh Hutcherson’s kidnapped Peeta, telling the people of Panem how good the Capitol is to them, and expressing bemusement as to why they would ever rebel against him. Arcade Fire’s chilling Soviet style Panem anthem has more or less for me become Donald Sutherland’s personal theme tune at this point, and it suits these words: “But if you resist the system, you starve yourself. If you fight against it, it is you who will bleed…” #OnePanem

January 28, 2014

2014: Hopes

Filed under: Talking Movies — Fergal Casey @ 3:58 pm
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The Monuments Men

George Clooney stars, co-writes with Grant Heslov again, and directs what seems like a promising mash-up of The Train and Ocean’s 11, arriving sometime in February. Somewhat based on fact, a crack team of art experts and soldiers are assembled in the dying months of WWII to try and rescue priceless works of art from wanton destruction at the hands of nihilistic Nazis. The team includes regular Clooney cohort Matt Damon and the great Cate Blanchett, alongside the undoubtedly scene-stealing comedic duo of Bill Murray and John Goodman, and oddly Jean Dujardin. Can Clooney pull off a more serious art heist from Nazis caper? Fingers crossed he can.

The Grand Budapest Hotel

Wes Anderson returns in March, apparently in thrall to Lubitsch and Lang. Edward Norton did so well in Moonrise Kingdom that he’s invited back alongside Bill Murray, Jason Schwartzman, Tilda Swinton, and Owen Wilson. Newcomers are Ralph Fiennes, Saoirse Ronan, Jude Law, Mathieu Amalric, and F Murray Abraham. Fiennes is the legendary concierge of the titular hotel in inter-war Europe, where any gathering storms are ignored in favour of absurd murder plots, art thefts and family squabbles gone mad, as Fiennes gives his lobby-boy protégé an education in dealing with the upper classes which he’ll never forget; if they escape a sticky end long enough to remember.

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Veronica Mars

AW YEAH!! It was cancelled in 2007 but Kristen Bell’s iconic teen detective snoops again as creator Rob Thomas sends NYC legal eagle Veronica back to sunny Neptune to attend her high school reunion. Present and correct are friends Mac (Tina Majorino) and Wallace (Percy Daggs III), nemesis Madison (Amanda Noret), and frenemy Dick (Ryan Hansen). Dad Keith (Enrico Colantoni) remains a sage, warning against the obvious peril of insipid boyfriend Piz (Chris Lowell) being replaced in her affections by roguish ex Logan (Jason Dohring), who is once again accused of murder and asking for V’s help. Please let the sparks of ‘epic love’ spanning ‘decades and continents’ rekindle!

Frank

Lenny Abrahamson is the opposite of a Talking Movies favourite, but he’s teamed up with the favourite di tutti favourites Michael Fassbender. Thankfully Abrahamson’s miserabilist tendencies and agonising inertness have been put to one side for this rock-star comedy co-written by journalist Jon Ronson, a man with a verified eye for the absurd having written The Men Who Stare at Goats and The Psychopath Test. The original script loosely based on a cult English comic musician follows wannabe musician Jon (Domhnall Gleeson), who discovers he’s bitten off more than he can chew when he joins a pop band led by the enigmatic Frank (Fassbender) and his scary girlfriend Maggie Gyllenhaal.

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Captain America: The Winter Soldier

Literally everything I loved most about the original disappeared with the time-jump. So the major attraction of April’s sequel isn’t Robert Redford as a shady new SHIELD director, but Revenge’s icy heroine Emily VanCamp as the mysterious Agent 13. Samuel L Jackson’s Nick Fury and Scarlett Johansson’s Black Widow regrettably take the place of Tommy Lee Jones and Hayley Atwell in support, but Anthony Mackie as sidekick Falcon is a major boon. The real worry is that directors Joe and Anthony Russo (You, Me and Dupree, yes, that’s right, that’s their resume) will be intimidated by their budget into endless CGI action and precious little else.

X-Men: Days of Future Past

I’m excited and nostalgic, because May 23rd sees the arrival of the X-3 we deserved, but never got. Bryan Singer returns to the franchise he launched for one of Claremont/Byrne’s most famous storylines. In a dystopian future, where mutantkind has been decimated by the Sentinels of Bolivar Trask (Peter Dinklage),Kitty Pryde (Ellen Page) Wolverine (Hugh Jackman – this is a movie, not a comic, it’s all got to be about Wolverine!) is sent back into the past by Professor X (Patrick Stewart) and Magneto (Ian McKellen) to alter history by rapprochement of their younger selves (James McAvoy, Michael Fassbender). Jennifer Lawrence co-stars, with every X-Men actor!

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22 Jump Street
A proper summer blockbuster release date of June 13th for this sequel recognises the hilarious success of the absurd original. Schmidt (Jonah Hill) and Jenko (Channing Tatum) (or was it the other way round?) go undercover in college to crack another drug ring, and once again their fantastic bromance starts to crack under the strain. The original’s unwieldy team of writers and directors are back, as are Ice Cube, Nick Offerman, Rob Riggle and Dave Franco. Amber Stevens and Wyatt Russell are the college kids, but sadly Brie Larson is absent. Jonah Hill appears in full goth gear, which seems to suggest that the absurdity levels remain healthy.

The Trip to Italy

It’s not clear yet if we’ll get this as an abridged film or just be treated to the full version as 6 episodes on BBC 2. In either case Steve Coogan and Rob Brydon reunite to play heightened versions of themselves as they bicker their way around restaurants in Italy for the purposes of writing magazine reviews. 2010’s endearing roving sitcom The Trip, with its competitive Michael Caine impersonations was a joy, and director Michael Winterbottom takes the show on tour here. And no better man for the job, as this originated with their duelling Al Pacinos at the end of his A Cock and Bull Story.

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Magic in the Moonlight
Woody Allen’s latest should hit our screens around September. This time round the cottage industry is giving us a period romantic comedy, set in the south of France, which takes place in the 1920s and 1930s. The cast is as usual intimidating: Emma Stone, Colin Firth, Marcia Gay Harden, the imperious Eileen Atkins (one of the few actresses capable of domineering over Judi Dench), and Jacki Weaver. Will F Scott and his ilk make an appearance? Who knows! There are no details, just stills of open-top cars, drop waists, and cloche hats so this could be a close cousin of Sweet & Lowdown or Midnight in Paris.

Gone Girl

The start of October sees the great David Fincher return, with his first film in three years, and it’s another adaptation of a wildly successful crime novel. Nick (Ben Affleck) and Amy (Rosamund Pike) are seemingly the perfect couple, but when she disappears suddenly on their 5th wedding anniversary, Nick becomes the prime suspect as he discovers his wife told friends she was scared of him. Could he have killed her? Or is the truth far more twisted? Gillian Flynn has adapted her own work, and, incredibly, penned an entirely new third act to keep everyone guessing. The unusually colourful supporting cast includes Neil Patrick Harris and Patrick Fugit.

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The Interview
The pitch is that an attractive talk show host and his producer unwittingly get caught up in an international assassination plot. So far so blah, if that was say Ben Stiller and Owen Wilson directed by Shawn Levy, except that the host is actually James Franco, the producer is Seth Rogen, the interview is in North Korea, and the awesome Lizzy Caplan is the rogue femme fatale CIA agent who drags them into all sorts of mischief. And it’s written and directed by Rogen and Evan Goldberg who distinguished themselves with 2013’s best comedy This is The End. This is very likely to mop up the non-Gone Girl audience.

Interstellar

Christopher Nolan tries to redeem himself after TDKR with a small personal project, taking the same release date as The Prestige did. Well, small, in that the WB needed Paramount to stump up some cash for it, and personal, in that Spielberg spent years developing it; albeit with the assistance of Jonathan Nolan. Scientists attempt to observe a wormhole into another dimension, and that’s about all we know, other than vague speculations about ecological crises. Matthew McConaughey 2.0 stars alongside Anne Hathaway, Casey Affleck, Matt Damon, John Lithgow, Jessica Chastain, and, yes, Michael Caine – who is now as essential a part of the signature as Bill Murray for Wes Anderson.

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The Hunger Games: Mockingjay – Part I

Jennifer Lawrence goes for third biggest hit at the North American box office for the third year in a row with her latest turn as rebel heroine Katniss Everdeen on November 21st. Having survived the Quarter Quell and the destruction of her District, she discovers President Snow has Peeta hostage, and that the rebellion has a leader, President Coin (Julianne Moore), ready to embark on a full-scale bloody war of rebellion against the Capitol. Recount writer (and Buffy shmuck) Danny Strong is the new screenwriter, and Elementary star Natalie Dormer joins the cast, but director Francis Lawrence remains in situ, with his considered visual style.

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