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Bob Mann (459 KP) rated Darkest Hour (2017) in Movies
Sep 29, 2021
Not buggering it up.
As Doctor Who repeatedly points out, time is most definitely a tricksy thing. As I think I’ve commented on before, the events of 1940-45 are not in my lifetime but were sufficiently fresh to my parents that they were still actively talked about… so they still appear “current” to me. But I find it astonishing to realize that to a teen viewer this film is equivalent in timeframe to the sinking of the Titanic! #ancienthistory! So I suspect your connection to this film will be strongly affected by your age, and that was definitely reflected in the average age at my showing which must have been at least 60.
It’s 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, “The Second Best Exotic Marigold Hotel“) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bête noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlain’s) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, “Rogue One“). With the Nazi’s bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchill’s, and the country’s, ‘darkest hour’.
Despite the woeful lack of historical knowledge among today’s youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolan’s film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and I’m not sure even I really appreciated that before. While this might have been a “thriller” if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchill’s firmly-held beliefs.
Gary Oldman’s performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like “Air Force One” and last year’s (pretty poor) “The Hitman’s Bodyguard” that it is easy to forget what a nuanced and flexible actor he is. Ever since that “No, surely not!” moment of that first glimpse of the film’s trailer, it has almost been impossible to ‘see’ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see “There you are!”.
The supportive wife – Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last year’s “Churchill“: true that that film was set three or four stressful years later, but Cox’s Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldman’s Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring “Churchill” though, the action is seen through the eyes of Churchill’s put-upon secretary, here played delightfully by Lily James (“Downton Abbey”, “Baby Driver“) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnell’s Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchill’s secretary Elizabeth Layton.
Also in Oldman’s shadow is the always marvelous Kristin Scott Thomas (“Four Weddings and a Funeral”, “The English Patient”) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is “The Theory of Everything” writer Anthony McCarten, and I’d like to say its a great script but with most of the best lines (“a sheep in sheep’s clothing” – LoL) coming from Winston himself it’s difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes – though not long by any means – the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (“Atonement”, “Pride and Prejudice”) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (“Inside Llewyn Davis“): a boy closes his telescope-fingers around Churchill’s plane; a bomb’s eye-view of the beleaguered Brigadier Nicholson in Calais; and – very impressively – the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (“Anna Karenina”, “Atonement”)).
And most-importantly Wright delivers what Christopher Nolan couldn’t deliver in “Dunkirk“: a properly CGI’d vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride – very moving and effective I must say – but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via Westminster…. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If I’m honest though, between “Darkest Hour”, “Churchill” and John Lithgow’s excellent portrayal in “The Crown” I’m all over portrayals of the great man for a few years. Can we please move on now Hollywood?
It’s 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, “The Second Best Exotic Marigold Hotel“) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bête noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlain’s) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, “Rogue One“). With the Nazi’s bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchill’s, and the country’s, ‘darkest hour’.
Despite the woeful lack of historical knowledge among today’s youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolan’s film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and I’m not sure even I really appreciated that before. While this might have been a “thriller” if it had been a fictional story, we well know the outcome of the story: but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchill’s firmly-held beliefs.
Gary Oldman’s performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like “Air Force One” and last year’s (pretty poor) “The Hitman’s Bodyguard” that it is easy to forget what a nuanced and flexible actor he is. Ever since that “No, surely not!” moment of that first glimpse of the film’s trailer, it has almost been impossible to ‘see’ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see “There you are!”.
The supportive wife – Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.
While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last year’s “Churchill“: true that that film was set three or four stressful years later, but Cox’s Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldman’s Churchill is irascible, unreasonable, but undeniably a leader and a great orator.
Mirroring “Churchill” though, the action is seen through the eyes of Churchill’s put-upon secretary, here played delightfully by Lily James (“Downton Abbey”, “Baby Driver“) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnell’s Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.
Perfectly cast: Lily James as Churchill’s secretary Elizabeth Layton.
Also in Oldman’s shadow is the always marvelous Kristin Scott Thomas (“Four Weddings and a Funeral”, “The English Patient”) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.
At the pen is “The Theory of Everything” writer Anthony McCarten, and I’d like to say its a great script but with most of the best lines (“a sheep in sheep’s clothing” – LoL) coming from Winston himself it’s difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes – though not long by any means – the script could still perhaps have had a nip and tuck here and there.
Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (“Atonement”, “Pride and Prejudice”) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (“Inside Llewyn Davis“): a boy closes his telescope-fingers around Churchill’s plane; a bomb’s eye-view of the beleaguered Brigadier Nicholson in Calais; and – very impressively – the smoky imperiousness of the House of Commons set.
An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (“Anna Karenina”, “Atonement”)).
And most-importantly Wright delivers what Christopher Nolan couldn’t deliver in “Dunkirk“: a properly CGI’d vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!!
There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride – very moving and effective I must say – but one that features the longest journey between any two stations on the District Line than has ever been experienced!
One stop on the District Line via Westminster…. via Harrow-on-the-Hill!
So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers. If I’m honest though, between “Darkest Hour”, “Churchill” and John Lithgow’s excellent portrayal in “The Crown” I’m all over portrayals of the great man for a few years. Can we please move on now Hollywood?
Gareth von Kallenbach (980 KP) rated Batman Begins (2005) in Movies
Aug 14, 2019
In the dark of night, a young man’s life is about to be forever changed. Young Bruce Wayne, son of wealthy industrialist Dr. Thomas Wayne (Linus Roache), is about to be orphaned in a random act of street violence.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
The act will forever scar the younger Wayne, and will install and fuel a dark fire to stop crime and corruption wherever they may be. Fast forward years later and Bruce (Christian Bale), is interned in and Asian prison as a result of his desire to stop crime and an unfortunate series of events that made him flee Gotham City to find himself. Hope arrives one day in the form of a visitor named Henri Ducard (Liam Neeson), who arranges not only to free Bruce, but to train him for his destiny.
High atop a rocky, snow-covered peak, Bruce undergoes rigorous physical and mental training to hone his body and mind into the ultimate tool to combat crime. As time passes, Bruce eventually is ready to go out into the world. That is until an unexpected situation arises that forces him to decide which path he wishes to select.
The aftermath of this decision has Bruce returning home to Gotham City, where he is again under the care of the trusted family servant Alfred (Michael Caine), who informs him that crime and corruption is rampant in Gotham because the crime leader Carmine Falcone (Tom Wilkinson), has many members of the police force and judicial system under his influence.
While touring his father’s company, Bruce meets Lucius Fox (Morgan Freeman), who makes all manners of high-end experimental military weaponry and armor available to Bruce. Inspired, Bruce begins to craft his alter ego Batman, and takes to the nights to disrupt Falcone and the criminal activities in Gotham.
Unknown to Bruce/Batman, an evil villain known as the Scarecrow (Cillian Murphy), is plotting to destroy Gotham, and with Batman being wanted by the police as a vigilante his attempts to cleanse the city are hindered as Bruce/Batman must fight a war on different fronts.
For most films this would be more than enough plot to carry a summer action film, but for Batman Begins, it is only the setup as the depth of the story is surpassed only by the depth of the intensity and emotion of the film as this is not Tim Burton or Joel Schumacher’s campy takes on the tale of the Dark Knight.
Director Christopher Nolan takes the gloves off and shows that his triumphant work in “Memento” was not a fluke. He has crafted a complex, dark, and emotional film that is more of a drama than a comic book caper. Bale does a masterful job portraying the angst and anger of his character without ever being hammy or over the top. He portrays Wayne as a very normal, yet disturbed soul, who clearly has a method to his madness and is not a shallow once dimensional character. When Bruce is not out fighting crime, he is not above cracking jokes, squiring the ladies about town, and spending time with long time friend (and the one who got away) Rachael Dawes (Katie Holmes).
The film takes many twists and never gets sappy as far too many comic based films do. In fact, the intensity of the film keeps going up until the town literally explodes into frenzy of violence and chaos. Parents should note that this Batman is a very intense film filled with dark images and as such may be too intense for younger viewers as this is a film that is aimed towards a more mature audience.
As I sat through the films nearly two and a half hour running time, I was captivated as the film holds your attention throughout, and is filled with great performances and action. The chase scene with the new Batmobile is one of the best car chase sequences in recent memory and the action scenes move with a crisp and steady pacing. Bale, as I mentioned, does great work, but so do Neeson, Caine and Gary Oldman in a supporting role as Police Officer Gordon. They take supporting characters and infuse them with a touch of humanity that enables them to come across as real people rather than the thin constructs that are far too often passed on as characters in films of this type.
The only real quibble I had with the film, and it is very minor, would be that Holmes was not given a chance to show more to her character other than the duality of the damsel in distress and the passionate Assistant D.A. Her scenes with Bale seem to lack the spark and chemistry of someone who is supposed to have been a close friend of Bruce since they were children.
That being said, the mature nature and gripping and deep storyline, as well as the standout performances and action, make this film a true classic and rivals “Spider-Man” as the best and most faithful adaptation of a comic book.
Kirk Bage (1775 KP) rated Tenet (2020) in Movies
Jan 22, 2021
Due to circumstances we have all lived with now for about 8 months, that scarce need a word more said about them, this has remained only the second film I have seen at a cinema in 2020, following an early January viewing of The Rise of Skywalker. And it will probably be the last film I head out to see on the big screen for a while. This, naturally, breaks my heart. It does, however, place Christopher Nolan’s complex thriller into a very peculiar and memorable place in the collective psyche of film lovers.
For many it will have been the film that brought them out of lockdown number one into a world of slight hope that normality was returning. As it co-incided with my daughter’s birthday it became part of a treat day out that although socially distanced was my first attempt to do all the things I hadn’t done for a while; eat out in a restaurant, have a pint in a bar, and then see a movie. The experience, whilst still enjoyable and memorable, was tainted by how surreal and empty the world felt – the meal was in an half empty and cold Hard Rock Cafe, with no music and a smell of disinfectant; the pint was in a pop up outside bar that only took orders via a phone app in advance; and the movie was attended by six people, of which we were two, separated by not two metres but at least ten!
I have been in some screenings that were dead quiet before, but not for a film so anticipated and more or less mainstream. It was odd. Hats off to the staff of Everyman, Glasgow, however, who were exemplary in their courtesy, welcoming and safety precautions. It wasn’t their fault it was empty, and I applaud them for keeping the ball rolling at that time around the start of September. At least the sofas were comfy, the place was warm and the smell was still of popcorn and not domestos.
I had been looking forward to the film immensely. The hype and build-up to it had come with a lot of baggage, with rumours of production delays and script issues going back a few years. It was shrouded in mystery, with even the trailer being delayed until the very last moment and critics not getting to see it until a day before release, such was the fear of spoilers leaking out. My first concern, being so excited by the prospect of another time bending classic to join Memento, Interstellar and Inception in the ranks of “OK, what just happened” masterpieces, was that the sound during the trailers was very very low – if they kept it that low during the actual film I would demand my money back… I needn’t have worried…
Never in my life have I felt as if my eardrums were about to burst whilst watching a film! Literally, at times, Hans Zimmer’s powerful and emotive score was vibrating my testicles! Add to that the fact that a lot of the dialogue seemed mumbled and drowned out by it, and it made the first 45 minutes very difficult to enjoy. Was this horrendous sound mix a mistake? Or very much part of the plan to overwhelm the senses and confuse the brain? Was it part of the puzzle or a massive technical oversight? As almost everyone seems to have the same complaint about it, the jury is still out on that one…
And so, it took a little while for me to atune to the tone, regardless of how hard you had to focus to take in anything of what was going on. There was a point where I became certain I wasn’t going to like it – I braced myself for disappointment. And then… at a certain moment in a certain scene the penny dropped and so did my jaw, as the full realisation of where this was going, and how unique and mind blowing that concept was, finally kicked in. From that moment on it just got better and better, as the technical achievement required, let alone intelligence, to pull this off surpassed all previous levels of anything I can ever remember.
The “Wow” moments just kept on coming as the action, tension and intrigue kept rising to fever pitch. In the end, so profoundly bewildering were the potential possibilities of the plot and premise that I gave up trying to meet it intellectually and just allowed it to wash over me emotionally, knowing that repeat viewings would allow me to engage with it in that way later.
John David Washington as “the protagonist” is suitably neutral and unshowy in the role; threatening to be compared to Bond or Bourne, but never quite being either, as this world, despite it’s surface glamour and underground seediness feels much closer to DiCaprio’s suit wearing mind spy in Inception than either of those. For anyone who didn’t yet catch his terrific turn in BlacKkKlansman this may be their first encounter with him, and you’d have to say he has a very solid, dependable quality, without ever being starry or attention seeking. Watchable, for sure, but never chewing the scenery at the cost of the story – and surely that is why Nolan chose him.
Beside Washington is another excellent performance by the increasingly impressive Robert Pattinson. His role as the enigmatic Neil here grows on you minute to minute during the film, and afterwards you wonder if he wasn’t the best thing about the entire production… there is a subtlety of meaning in all his scenes that is only revealed late on, and demands a further watch or two to get every nuance from. He gives the impression he is entirely in control of the full meaning of the film and his own performance, so much so he strikes me as the pivot that would tip you either way on whether you liked the film or not.
And I have to admit not liking it is a valid option. You couldn’t possibly watch it whilst tired or in a bad mood, it is just too full on, bordering on oppressive at times. There are also a few supporting roles that I’m not 100% certain of, most notably Kenneth Brannagh as the seeming villain of the piece, Sator. His accent is a distraction, and it feels like a character you’ve seen him play before – fine in most ways, but nothing special – and I found myself wishing they had cast someone else in that role. Likewise with the less exposed Elizabeth Debicki – adequate, but not transcendent, as her character might have been with a more charismatic actress.
My overall impression was definitely affected by how much my daughter enjoyed it – she loves having a mystery to solve, especially if it involves time or some other sci-fi concept. The pleasure of it was chatting it over excitedly afterwards, to see if either of us had truly understood the full story, in the same way I remember doing with others about all Nolan’s concept pieces over the years. If you come to it being less than bothered about having to unlock a puzzle box then it may very well piss you off, to the extent you either just give up or sit back and enjoy the ride. However, I would assert confidently that it is worth the effort and will reward multiple viewings over time. Especially as more clues to its meaning are discussed and revealed.
One thing that can be said with certainty is that there is no other film like this that has ever been made. It feels different and beyond comparison in many crucial ways. The ambition of Nolan has to be applauded. I only wish he would go back and sort out that sound design before I get around to seeing it again.
For many it will have been the film that brought them out of lockdown number one into a world of slight hope that normality was returning. As it co-incided with my daughter’s birthday it became part of a treat day out that although socially distanced was my first attempt to do all the things I hadn’t done for a while; eat out in a restaurant, have a pint in a bar, and then see a movie. The experience, whilst still enjoyable and memorable, was tainted by how surreal and empty the world felt – the meal was in an half empty and cold Hard Rock Cafe, with no music and a smell of disinfectant; the pint was in a pop up outside bar that only took orders via a phone app in advance; and the movie was attended by six people, of which we were two, separated by not two metres but at least ten!
I have been in some screenings that were dead quiet before, but not for a film so anticipated and more or less mainstream. It was odd. Hats off to the staff of Everyman, Glasgow, however, who were exemplary in their courtesy, welcoming and safety precautions. It wasn’t their fault it was empty, and I applaud them for keeping the ball rolling at that time around the start of September. At least the sofas were comfy, the place was warm and the smell was still of popcorn and not domestos.
I had been looking forward to the film immensely. The hype and build-up to it had come with a lot of baggage, with rumours of production delays and script issues going back a few years. It was shrouded in mystery, with even the trailer being delayed until the very last moment and critics not getting to see it until a day before release, such was the fear of spoilers leaking out. My first concern, being so excited by the prospect of another time bending classic to join Memento, Interstellar and Inception in the ranks of “OK, what just happened” masterpieces, was that the sound during the trailers was very very low – if they kept it that low during the actual film I would demand my money back… I needn’t have worried…
Never in my life have I felt as if my eardrums were about to burst whilst watching a film! Literally, at times, Hans Zimmer’s powerful and emotive score was vibrating my testicles! Add to that the fact that a lot of the dialogue seemed mumbled and drowned out by it, and it made the first 45 minutes very difficult to enjoy. Was this horrendous sound mix a mistake? Or very much part of the plan to overwhelm the senses and confuse the brain? Was it part of the puzzle or a massive technical oversight? As almost everyone seems to have the same complaint about it, the jury is still out on that one…
And so, it took a little while for me to atune to the tone, regardless of how hard you had to focus to take in anything of what was going on. There was a point where I became certain I wasn’t going to like it – I braced myself for disappointment. And then… at a certain moment in a certain scene the penny dropped and so did my jaw, as the full realisation of where this was going, and how unique and mind blowing that concept was, finally kicked in. From that moment on it just got better and better, as the technical achievement required, let alone intelligence, to pull this off surpassed all previous levels of anything I can ever remember.
The “Wow” moments just kept on coming as the action, tension and intrigue kept rising to fever pitch. In the end, so profoundly bewildering were the potential possibilities of the plot and premise that I gave up trying to meet it intellectually and just allowed it to wash over me emotionally, knowing that repeat viewings would allow me to engage with it in that way later.
John David Washington as “the protagonist” is suitably neutral and unshowy in the role; threatening to be compared to Bond or Bourne, but never quite being either, as this world, despite it’s surface glamour and underground seediness feels much closer to DiCaprio’s suit wearing mind spy in Inception than either of those. For anyone who didn’t yet catch his terrific turn in BlacKkKlansman this may be their first encounter with him, and you’d have to say he has a very solid, dependable quality, without ever being starry or attention seeking. Watchable, for sure, but never chewing the scenery at the cost of the story – and surely that is why Nolan chose him.
Beside Washington is another excellent performance by the increasingly impressive Robert Pattinson. His role as the enigmatic Neil here grows on you minute to minute during the film, and afterwards you wonder if he wasn’t the best thing about the entire production… there is a subtlety of meaning in all his scenes that is only revealed late on, and demands a further watch or two to get every nuance from. He gives the impression he is entirely in control of the full meaning of the film and his own performance, so much so he strikes me as the pivot that would tip you either way on whether you liked the film or not.
And I have to admit not liking it is a valid option. You couldn’t possibly watch it whilst tired or in a bad mood, it is just too full on, bordering on oppressive at times. There are also a few supporting roles that I’m not 100% certain of, most notably Kenneth Brannagh as the seeming villain of the piece, Sator. His accent is a distraction, and it feels like a character you’ve seen him play before – fine in most ways, but nothing special – and I found myself wishing they had cast someone else in that role. Likewise with the less exposed Elizabeth Debicki – adequate, but not transcendent, as her character might have been with a more charismatic actress.
My overall impression was definitely affected by how much my daughter enjoyed it – she loves having a mystery to solve, especially if it involves time or some other sci-fi concept. The pleasure of it was chatting it over excitedly afterwards, to see if either of us had truly understood the full story, in the same way I remember doing with others about all Nolan’s concept pieces over the years. If you come to it being less than bothered about having to unlock a puzzle box then it may very well piss you off, to the extent you either just give up or sit back and enjoy the ride. However, I would assert confidently that it is worth the effort and will reward multiple viewings over time. Especially as more clues to its meaning are discussed and revealed.
One thing that can be said with certainty is that there is no other film like this that has ever been made. It feels different and beyond comparison in many crucial ways. The ambition of Nolan has to be applauded. I only wish he would go back and sort out that sound design before I get around to seeing it again.