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David McK (3425 KP) rated It's a Wonderful Life (1946) in Movies
Dec 24, 2023
Whit Stillman recommended The Shop Around the Corner (1940) in Movies (curated)
BankofMarquis (1832 KP) rated Anatomy of a Murder (1959) in Movies
Nov 30, 2018
One of the Best Courtroom Dramas of all Time
I have to admit, that (at times) the fun part of going to "SECRET MOVIE NIGHT" is the anticipation of not knowing what the film is. Sometimes the film is "good, not great" (like THE BLUES BROTHERS, BODY HEAT and A FACE IN THE CROWD) and other times it is a CLASSIC (Like CITIZEN KANE, THE APARTMENT and NETWORK). I am happy to report that this month's installment IS a classic, our old pal Jimmy Stewart in 1959's ANATOMY OF MURDER.
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Chris Parnell recommended Dune (1984) in Movies (curated)
LeftSideCut (3778 KP) rated Lifeforce (1985) in Movies
Oct 22, 2020
Fun fact - this is the second film I've seen where a female character uses Patrick Stewart's body to communicate with someone. Maybe this is some kind of niche sub-genre I'm just discovering...
Lifeforce is a film of three parts - it's one part sci-fi, one part British thriller, and one part ridiculous end-of-the-world horror, in that precise order.
The sci-fi part is decent enough, where a space crew discovers a strange object near Halley's comet, and further inspection reveals giant bats and sleeping naked humans in crystal coffins that turn out to weird space vampires (so on board with this ridiculous plot). It has a great aesthetic and some good special effects (keeping in mind this movie came out in 1985). The puppetry when some of the space-vampire victims come back to life is awesome.
Then the film shifts to Colonels Caine (Peter Firth) and Carlsen (Steve Railsback) as they track down one of the escaped aliens through London, whilst it kills and shapeshifts to it's hearts content.
This portion is slower, but Lifeforce has an engaging screenplay, and boasts a cast good enough to keep things entertaing. Patrick Stewart, Frank Finlay, Mathilda May, and John Hallam amongst others provide a solid ensemble that ensures the film doesn't fall into silly territory.
Everything leads up to the absurd finale however. London is completely aflame, hordes of vampire zombie things flood the street, there are bodies everywhere, shit is blowing up, vampire aliens are being vanquished with giant swords, people are being thrown out of helicopters - Tobe Hooper doesn't fuck about with this kind of stuff, and Lifeforce has a final sequence that puts a lot of other horror films to shame, and looks fantastic. It's glorious - This sci-fi-horror gem is well worth checking out.
Lifeforce is a film of three parts - it's one part sci-fi, one part British thriller, and one part ridiculous end-of-the-world horror, in that precise order.
The sci-fi part is decent enough, where a space crew discovers a strange object near Halley's comet, and further inspection reveals giant bats and sleeping naked humans in crystal coffins that turn out to weird space vampires (so on board with this ridiculous plot). It has a great aesthetic and some good special effects (keeping in mind this movie came out in 1985). The puppetry when some of the space-vampire victims come back to life is awesome.
Then the film shifts to Colonels Caine (Peter Firth) and Carlsen (Steve Railsback) as they track down one of the escaped aliens through London, whilst it kills and shapeshifts to it's hearts content.
This portion is slower, but Lifeforce has an engaging screenplay, and boasts a cast good enough to keep things entertaing. Patrick Stewart, Frank Finlay, Mathilda May, and John Hallam amongst others provide a solid ensemble that ensures the film doesn't fall into silly territory.
Everything leads up to the absurd finale however. London is completely aflame, hordes of vampire zombie things flood the street, there are bodies everywhere, shit is blowing up, vampire aliens are being vanquished with giant swords, people are being thrown out of helicopters - Tobe Hooper doesn't fuck about with this kind of stuff, and Lifeforce has a final sequence that puts a lot of other horror films to shame, and looks fantastic. It's glorious - This sci-fi-horror gem is well worth checking out.
365Flicks (235 KP) rated Cold Moon (2017) in Movies
Nov 20, 2019
At first glance this looks like most other by the numbers Horror/Thriller movies with a cast of people you will recognize straight away but take a while to place where from. However give it a minute because this movie has some really stellar performances from the core cast which considering the concept is just bonkers enough to take you out of it completely, I find this to be nothing short of incredible.
THE BLURB:
In a sleepy southern town, the Larkin family suffers a terrible tragedy. Now the Larkin’s are about to endure another: Traffic lights blink an eerie warning, a ghostly visage prowls in the streets, and graves erupt from the local cemetery in an implacable march of terror . . . And beneath the murky surface of the river, a shifting, almost human shape slowly takes form to seek a terrible vengeance.
I found this movie to be way more Thriller than Horror, sure there are some solid as hell jump scares but one of the defining points in a Horror is that we don’t find out who the man in the mask is till the last quarter of the movie. In Cold Moon we know who the killer is early on and the film interestingly begins to focus on the rapid decline of our killers mind. Being haunted by the eerie ghosts of his victims, leading him to drink heavily, become careless and basically begin to lose his shit… Well that is where this movie cuts its teeth and showcases not only what our core cast can do but how effortlessly our Director/Writer can craft his tale.
Griff Furst has crafted a pretty eerie, Good looking, Atmospheric and Clever movie from the original novel written by the late Michael McDowell, author of Beetlejuice and The Nightmare Before Christmas. Not only that but he managed to perfectly cast his roles from top to bottom **In my eyes, of course**. So lets touch on a couple of those people you know but may not place.
Josh Stewart from mostly everything, most notably for me he was Bane’s main henchmen in Dark Knight Rises. He is great in this flick, given a real chance to show us his range and I was pleased to see more of him. Frank Whaley from almost everything ever and he is fantastic in this. Up and Coming Robbie Kay from Tv show Once Upon A Time puts in a pretty strong performance. Ladies and Gentlemen we are even treated to some Christopher Lloyd, Doc Brown-ing all over the place.
Oh crap I almost forgot we are given a Tommy Wiseau cameo that is a real treat… Listen closely for his one line “He’s tearing him Apart”. Awww man now I wanna watch the room.
I recommend the hell out of this movie, is it amazing?? Not really… But its good fun, pretty clever, great performances and entertaining as hell. So a definite recommend.
THE BLURB:
In a sleepy southern town, the Larkin family suffers a terrible tragedy. Now the Larkin’s are about to endure another: Traffic lights blink an eerie warning, a ghostly visage prowls in the streets, and graves erupt from the local cemetery in an implacable march of terror . . . And beneath the murky surface of the river, a shifting, almost human shape slowly takes form to seek a terrible vengeance.
I found this movie to be way more Thriller than Horror, sure there are some solid as hell jump scares but one of the defining points in a Horror is that we don’t find out who the man in the mask is till the last quarter of the movie. In Cold Moon we know who the killer is early on and the film interestingly begins to focus on the rapid decline of our killers mind. Being haunted by the eerie ghosts of his victims, leading him to drink heavily, become careless and basically begin to lose his shit… Well that is where this movie cuts its teeth and showcases not only what our core cast can do but how effortlessly our Director/Writer can craft his tale.
Griff Furst has crafted a pretty eerie, Good looking, Atmospheric and Clever movie from the original novel written by the late Michael McDowell, author of Beetlejuice and The Nightmare Before Christmas. Not only that but he managed to perfectly cast his roles from top to bottom **In my eyes, of course**. So lets touch on a couple of those people you know but may not place.
Josh Stewart from mostly everything, most notably for me he was Bane’s main henchmen in Dark Knight Rises. He is great in this flick, given a real chance to show us his range and I was pleased to see more of him. Frank Whaley from almost everything ever and he is fantastic in this. Up and Coming Robbie Kay from Tv show Once Upon A Time puts in a pretty strong performance. Ladies and Gentlemen we are even treated to some Christopher Lloyd, Doc Brown-ing all over the place.
Oh crap I almost forgot we are given a Tommy Wiseau cameo that is a real treat… Listen closely for his one line “He’s tearing him Apart”. Awww man now I wanna watch the room.
I recommend the hell out of this movie, is it amazing?? Not really… But its good fun, pretty clever, great performances and entertaining as hell. So a definite recommend.
Jamie (131 KP) rated Born a Crime: Stories from a South African Childhood in Books
Jul 22, 2017
Noah’s wit and charm (1 more)
Frank discussions of racism, poverty, and family
A stellar memoir
For those that don’t already know who Trevor Noah is, he is a comedian from South Africa that is now the current host of The Daily Show, taking the place of Jon Stewart when he retired. Trevor is an accomplished polyglot, speaking 9 languages fluently and has some fluency in several more. In much of his comedy he talks about his difficulties with racial identity having been born during apartheid to an African mother and a Swiss father. Apartheid was a system of institutionalized segregation in South Africa that lasted from the 1940’s to the 1990’s.
The book is bursting at the seams with humorous anecdotes about growing up as the wild child in his family. Getting in trouble, trying to outrun and outsmart his mom, committing petty crimes with friends, striking out with girls; Trevor’s life was colorful in no small part because of his mother. In interviews Trevor has stated that his memoir became sort of an open love letter to his mother, Patricia Noah–a fiercely independent woman that refused to be held down by her race or gender and sought to show her son the world outside of apartheid South Africa, who tried to save her son from the cruelty of the world.
“The world doesn’t love you. If the police get you, the police don’t love you. When I beat you, I’m trying to save you. When they beat you, they’re trying to kill you.”
The last chapters had me sobbing which was something that I hadn’t anticipated. Trevor mentions his step-father in the early chapters in passing, like a dark cloud that hung over his family’s life. I wasn’t prepared for the deeply troubling and heartbreaking portrait of a loving family ripped apart by abuse and the failures of law enforcement to prevent tragedy despite numerous attempts to get help.
I was already a fan of Trevor Noah, having watched some of his stand-up comedy and was overjoyed when he took over The Daily Show. From this memoir I have a newfound respect for Trevor not only for the horrendous abuse and racism he has endured, but how he allowed these things to shape who he is. He approaches issues of race, identity, poverty, and abuse with honesty and was able to articulate his feelings on topics that I have been struggling with for years. This memoir was surprisingly cathartic to me as someone that has struggled both with a mixed racial background and as a survivor of domestic abuse.
This was a wonderful memoir that really showcased that even in the darkest of places one can still find hope and strength in love. It was both insightful and laugh out loud funny, even if some of the humor could be viewed as highly offensive. I really enjoyed this memoir and am happy that I read it, it’s definitely going down on my shelf as a favorite.
The book is bursting at the seams with humorous anecdotes about growing up as the wild child in his family. Getting in trouble, trying to outrun and outsmart his mom, committing petty crimes with friends, striking out with girls; Trevor’s life was colorful in no small part because of his mother. In interviews Trevor has stated that his memoir became sort of an open love letter to his mother, Patricia Noah–a fiercely independent woman that refused to be held down by her race or gender and sought to show her son the world outside of apartheid South Africa, who tried to save her son from the cruelty of the world.
“The world doesn’t love you. If the police get you, the police don’t love you. When I beat you, I’m trying to save you. When they beat you, they’re trying to kill you.”
The last chapters had me sobbing which was something that I hadn’t anticipated. Trevor mentions his step-father in the early chapters in passing, like a dark cloud that hung over his family’s life. I wasn’t prepared for the deeply troubling and heartbreaking portrait of a loving family ripped apart by abuse and the failures of law enforcement to prevent tragedy despite numerous attempts to get help.
I was already a fan of Trevor Noah, having watched some of his stand-up comedy and was overjoyed when he took over The Daily Show. From this memoir I have a newfound respect for Trevor not only for the horrendous abuse and racism he has endured, but how he allowed these things to shape who he is. He approaches issues of race, identity, poverty, and abuse with honesty and was able to articulate his feelings on topics that I have been struggling with for years. This memoir was surprisingly cathartic to me as someone that has struggled both with a mixed racial background and as a survivor of domestic abuse.
This was a wonderful memoir that really showcased that even in the darkest of places one can still find hope and strength in love. It was both insightful and laugh out loud funny, even if some of the humor could be viewed as highly offensive. I really enjoyed this memoir and am happy that I read it, it’s definitely going down on my shelf as a favorite.
Bob Mann (459 KP) rated Logan (2017) in Movies
Sep 29, 2021
“When the man comes around”
At last – a superhero movie with real heart… (and not just the chunks over the knuckle blades!). Logan is a bit of a revelation. I was reluctant to go and see it, since a) I’m a lukewarm X-Men fan at best and b) I hadn’t seen either of the previous two Wolverine spin-off films. (Seeing the other Wolverine films, by the way, is not a pre-requisite for enjoying this one). After a long day at work, my choice was “Logan” or “Kong: Skull Island”. I voted for this one, and I’m so glad I did.
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….
It’s now 2029. Hugh Jackman plays Wolverine, but this is not a Wolverine we have seen before. This is an aged and deteriorating superhero: his self-healing powers are waning; a limp is developing; and his fighting prowess (although still legendary) doesn’t show the stamina it once did. This is a Wolverine that is also an unlikely carer, looking after a mentally degenerating Professor Xavier (Patrick Stewart), now 90 years old and finding it increasingly difficult to keep his devastating mental superpowers under control. This is a Wolverine trying desperately to avoid the limelight, working diligently as a limo-driver in an effort to save money for the dream of buying a ‘Sunseeker’ and sailing off with Xavier into the sunset, gaining true anonymity among the boating fraternity.
Life doesn’t play ball though. A brutal encounter with a gang on the highway outside El Paso advertises Wolverine’s presence and brings him into contact with a strange eleven-year-old girl (Dafne Keen) with impressive powers of her own. The girl is being pursued by a “reiver” (Boyd Holbrook, “Run all Night”) supported by a small private army. Against his will, Wolverine is forced into a memorable road trip with the old man and the young girl that leaves a trail of bloodied bodies behind them.
For, be warned, this is an *extremely* violent film, with much dismemberment and ‘blade work’ that must have kept the prosthetics department busy for months. It’s also quite emotionally brutal, particularly within a central segment set in a “Field of Dreams” style idyll (featuring Eriq La Salle from E.R.) that you know in your gut is not going to end with “Goodnight John Boy” pleasantries.
The well-choreographed and frenetic action within the road-trip segment reminded me at times of the harsh cinematography and dynamics of “Mad Max: Fury Road” – a great compliment.
But the film also takes time to pause, in uncharacteristic Marvel-ways, for character development and genuinely intelligent dialogue. These interludes allow the acting to shine, and it is first-rate. We all know (from “Les Miserables” for instance) that Hugh Jackman can act, but this is arguably his best-ever performance: a meaty role (he actually has two in the film) that affords him tremendous range and emotion. At one point towards the end of the film I thought “this has genuine Oscar show-reel potential”. He will surely never get nominated – a Marvel film? Get Away! But wouldn’t it make a refreshing change if he was? Recognizing good acting, regardless of the context.
Patrick Stewart is a great Shakespearean actor, and here he also gets given full rein to impress as he hasn’t had chance to in most of his movie roles to date.
Claiming the prize so far this year for the most unusual casting decision is Stephen Merchant as the albino helper Caliban, unrecognizable to me at first until he had some lengthy dialogue to flex his Bristol accent on! A non-comic and dramatic role, Merchant does really well with it.
Finally, I can’t leave the acting without doffing my cap to young Dafne Keen whose mesmerising feral stare would probably put the fear of God into every parent of a pre-teen girl! Even though she has only a handful of lines, this is an impressive feature film debut. I predict we will see much more of this young lady.
Less convincing to me was Richard E Grant as the evil mastermind behind the scheme, who never quite seemed nasty enough to me to be believable: in one scene he could be calling back a dog that’s run off down the beach rather than desperately trying to gain control of an out of control situation!
Directed by James Mangold (“Walk the Line”, “Knight and Day”), who co-wrote the piece with Scott Frank (“Minority Report”) and Michael Green (“Green Lantern”… yes, really!), this was a gritty and well constructed movie. If you can stomach the gore and the body count (I would see it as very lucky to have got away with its UK ’15’ certificate) this is a rollercoaster of a movie that is recommended.
By the way, to save you from sitting through the end titles (although you do get a Johnny Cash classic to enjoy) there is no “monkey” at the end of this Marvel film. (I’m no stranger to still be sitting there as the lights come up… but many of the crowd that were left looked vaguely embarrassed!)
In terms of my rating, I’m not a fanboy for Marvel or DC properties, but here I award a rating I have only previously bestowed on two superhero films before: the quirky “Ant Man” and the anarchic “Deadpool“….