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Bob Mann (459 KP) rated Breaking In (2018) (2018) in Movies
Sep 29, 2021
Get In.
Into every life a little rain must fall. Some fairly pervasive advertising drove me into the cinema to see this one… often a sign that the distributors think it has legs. And from its quirky opening titles (with a COMPLETELY expected shock denouement!) I started to think it did have something. The beginning is in fact VERY similar to the introductory scene of “Get Out” in its randomness, and for one brief moment I wondered if the film was trying to parody that indie classic from last year… with only some studio lawyers getting in the way of them really calling it “Get In”. (“No, no, no… ‘Get’ is copyrighted… you’ll have to use some other word!”).
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
But no. It turns out that this is a pretty below-average B-movie after all,
The plot is pretty derivative of the “family in dire peril” variety made famous by the “Taken” series. Not being able to persuade Liam Neeson to wear a dress in this “Times Up” era, the Neeson-actioner writer Ryan Engle (“The Commuter“, “Non-Stop“) switches the action to focus on stressed mother Shaun Russell (Gabrielle Union).
Shaun has come to deepest Wisconsin with her two kids, Jasmine (Ajiona Alexus) and Glover (Seth Carr) to arrange the sale of her deceased father’s luxury home: a house absolutely brimming to the elegant rafters with security features. But unknown to them, there are already intruders in the house searching for something of value, and with Shaun locked outside the secure fortress home she will stop at nothing to break in and bring her children safely home.
The sad thing about this one is that the fairly unknown cast actually do a pretty good job. The chief villain Eddie, played by Billy Burke, channels an effectively ‘evil-quiet-Gary-Oldman” turn to good effect. His accomplices, the more sensitive Sam (Levi Meaden), luckless Peter (Mark Furze) and (particularly) the psychopathic Duncan (Richard Cabral) (can a psychopath really be called Duncan?) are broad caricatures, but never too broad to be totally awful.
Gabrielle Union kicks-ass effectively with her particular set of skills (see below), but particularly good is 22-year old Ajiona Alexus who has a great screen presence and deserves to be in much better films than this.
Where the film stumbles and goes crashing through its carbonite shutters is in the story and the screenplay’s dialogue.
The former is just bat-shit crazy, with so many ridiculous plot-holes and “yeah-but” moments that you lose count. For example, at one point the daughter is looking for her mobile phone WHICH IS IN THE ROOM and which would wrap the plot up in 10 minutes flat…. but then something else happens and they stop looking for it, never to be thought of again!
And what of those ‘particular set of skills’ that Shaun has? Oh, I forgot to say… she has none!! Or at least you assume not, since Shaun seems to have no back-story whatsoever, other than the fact that her daddy is very very rich and being investigated by the D/A. For what? Embezzlement? Tax evasion? Smartie-smuggling? Gun running? Perhaps he was a mafia overlord and Shaun was brought up with martial arts, gun and knife training to spy-school level? Perhaps none of the above, and she was just an obsessive watcher of Engle-scripted flicks? We will never know.
In addition, Shaun gets the proverbial crap kicked out of her on so many occasions, but there is no trip to casualty required. (Yes, I know Neeson and most other action heroes have the same implausible in-vulnerabilities, but it just seems so much less realistic when she is a not-particularly sporty or athletic woman).
And that dialogue… it’s just plain laughable in places. If Eddie doesn’t do his “Mamma hen will come back to save her chicks” speech once, he does it five times….
“Hey, James”… (James McTeigue, director, “V for Vendetta”)… says Burke, “Haven’t I said this line four times already”. “Sure”, says McTeigue, “I’m not sure where exactly I want to put it in the final cut yet, but only one of them will stay in. Don’t worry… I won’t make you look stupid to the cinema-going audience!!”
Every last thriller cliché is mined as the story grinds to an unmemorable and very flat conclusion.
Before wrapping up, I’d point out Another crime being committed in the music department. Australian composer Johnny Klimek’s action thriller score is actually quiet good, full of nice electronic riffs. But he really doesn’t know when to shut up. I remember an interview by John Williams on scoring the score to Hitchcock’s “Family Plot” where he recounted that Hitchcock taught him the value of a sudden absence of music at key moments. This film is too recent to learn the many lessons of “A Quiet Place“: but there are so many moments in this film where silence should have been golden. At one point the (what should be) heart-stopping sound effect of a creaking beam can barely be heard over Klimek’s pounding electronics.
So in summary, although it’s the award of ‘good acting attempt’ badges to sew onto the cast’s scout uniforms, my message to you dear reader re this one is “Get Out” of the cinema and enjoy the nice summer evenings instead!
Connor Sheffield (293 KP) rated The Company of Wolves (1984) in Movies
Apr 19, 2017
Very Different from most films (3 more)
Transformation Sequences
Great Cast
Brilliant lore
May seem confusing (1 more)
Rosaleen younger than originally planned
Of Wolves and Men
Where do I begin when reviewing a film as obscure and brilliant as, The Company of Wolves. Well for starters I should probably introduce it as it's not a film a lot of people are aware of.
The Company of Wolves is a British Gothic Horror movie adapted from an Anthology of short stories called The Curious Room, written by Angela Carter, and the short story that the film was adapted from was in fact of the same name, The Company of Wolves.
Angela Carter worked with Neil Jordan to write the screenplay and whilst it has some differences (I've not yet read the original story so I couldn't tell you the differences....just google it) the movie is still pretty close to the source material from what I have heard.
One thing I can tell you about this film is that it is brilliant and unlike anything you will ever watch (at least its unlike anything I have seen as of writing this). When I first watched this film, my initial thought was "What on earth did I just watch?" and after viewing it several more times I understood more and more and each viewing was like a new experience.
It's cast add to the creepy dark tone of the film whilst still feeling like a light fantasy film, but with gore and death. The soundtrack is certainly the creepiest element of the film, and it creates an eerily uncomfortable atmosphere. To add to this atmosphere we have a cast that includes the likes of famous names such as Angela Lansbury (Bedknobs and Broomsticks, Beauty and the Beast, Murder She Wrote etc.), Stephen Rea (V for Vendetta, The Crying Game, Underworld: Awakening etc.), David Warner (Titanic, Tron, The Omen etc.) and Brian Glover (An American Werewolf in London, Alien 3, KES etc.) just to name a few, but we also have brilliant talent from lesser known actors\actresses such as Micha Bergese (Interview With A Vampire) and the lead role of young Rosaleen, portrayed by Sarah Patterson who only ever starred in 3 more films after The Company of Wolves.
So why do I love this movie? I have a love for werewolf lore and the subtle messages about reality the legends may be formed from and this film explores some of that. With Angela Lansbury as Granny telling young Rosaleen stories about how she shouldn't trust men who's eyebrows meet, and how she shouldn't stray from the path when walking through the forest. Tradition superstition that were actual beliefs many years ago. The Company of Wolves is a combination of stories, but with an overall plot similar in many ways to that of Little Red Riding Hood, including Granny knitting Rosaleen a red shoal, and being challenged by a huntsman to a race to Granny's house, which concludes with SPOILERS!!!!
Granny is murdered, and the huntsman is discovered by Rosaleen who them puts the pieces of the puzzle together and comes to the truthful conclusion that the huntsman is in fact a werewolf.
However, my only issue with the film is not being able to explore the story properly, as the casting of Rosaleen was actually too young for the original script. The film is a somewhat coming of age movie for Rosaleen and a young boy who is infatuated with her (known only in the credits as Amerous Boy, portrayed by Shane Johnstone. Never heard of him? That's because this was his only movie). The original script was essentially going to explore more of the sexuality between a young girl and the handsome stranger known as The Huntsman. However, during casting, Sarah Patterson shined above the other young performers and was chosen for the role, but due to her being so young (only 12/13 years old) they had to change the script and so their interaction was reduced to nothing more than a bet which would lead to a kiss, but the kiss is then a simple peck on the lips as the Rosaleen jumps back with the line "My what big teeth you have!".
Here's a tip when you watch this movie. Look around Rosaleens room at the beginning and pay attention to her dolls etc. Some of the props will help the film make more sense because one thing I should have mentioned at the start is that this story takes place in a young girls dream (Also portrayed by Sarah Patterson) and the finale is spectacular.
The wolves for the majority of their appearances are easily noticeable as being nothing more than domestic German Shepherds, but that makes sense when you think about this being a girl's dream, and this girl in fact owns a pet German Shepherd.
The best part and the most horrific part of this movie, is the transformations of two of the characters. Stephen Rea's character is a young groom in one of Granny's stories that she tells to Rosaleen, and his transformation into wolf form is one of the most graphic transformations I have ever seen in a film, and despite the use of an animatronic dog, which in part takes away some of the magic, you have to remember this was 1984 and these kinds of films were not going to have the amazing technology we have today and you have to give so much credit and respect to Neil Jordan for using practical effects.
The Huntsmans transformation is less gory but definitely not any less creepier, as we see an extended tongue, and a lot of physical body transformation before a wolf snout comes bursting out of his mouth and fur rips through his skin. Both of these portrayals of the transformation were a representation of the running theme that men have beasts inside of them, that only appear when they are angry or upset.
I highly recommend this film, but I have warned you beforehand. If you do watch this film, feel free to discuss it with me because as I said it is one of my favourites and is lesser known to many audiences.
The Company of Wolves is a British Gothic Horror movie adapted from an Anthology of short stories called The Curious Room, written by Angela Carter, and the short story that the film was adapted from was in fact of the same name, The Company of Wolves.
Angela Carter worked with Neil Jordan to write the screenplay and whilst it has some differences (I've not yet read the original story so I couldn't tell you the differences....just google it) the movie is still pretty close to the source material from what I have heard.
One thing I can tell you about this film is that it is brilliant and unlike anything you will ever watch (at least its unlike anything I have seen as of writing this). When I first watched this film, my initial thought was "What on earth did I just watch?" and after viewing it several more times I understood more and more and each viewing was like a new experience.
It's cast add to the creepy dark tone of the film whilst still feeling like a light fantasy film, but with gore and death. The soundtrack is certainly the creepiest element of the film, and it creates an eerily uncomfortable atmosphere. To add to this atmosphere we have a cast that includes the likes of famous names such as Angela Lansbury (Bedknobs and Broomsticks, Beauty and the Beast, Murder She Wrote etc.), Stephen Rea (V for Vendetta, The Crying Game, Underworld: Awakening etc.), David Warner (Titanic, Tron, The Omen etc.) and Brian Glover (An American Werewolf in London, Alien 3, KES etc.) just to name a few, but we also have brilliant talent from lesser known actors\actresses such as Micha Bergese (Interview With A Vampire) and the lead role of young Rosaleen, portrayed by Sarah Patterson who only ever starred in 3 more films after The Company of Wolves.
So why do I love this movie? I have a love for werewolf lore and the subtle messages about reality the legends may be formed from and this film explores some of that. With Angela Lansbury as Granny telling young Rosaleen stories about how she shouldn't trust men who's eyebrows meet, and how she shouldn't stray from the path when walking through the forest. Tradition superstition that were actual beliefs many years ago. The Company of Wolves is a combination of stories, but with an overall plot similar in many ways to that of Little Red Riding Hood, including Granny knitting Rosaleen a red shoal, and being challenged by a huntsman to a race to Granny's house, which concludes with SPOILERS!!!!
Granny is murdered, and the huntsman is discovered by Rosaleen who them puts the pieces of the puzzle together and comes to the truthful conclusion that the huntsman is in fact a werewolf.
However, my only issue with the film is not being able to explore the story properly, as the casting of Rosaleen was actually too young for the original script. The film is a somewhat coming of age movie for Rosaleen and a young boy who is infatuated with her (known only in the credits as Amerous Boy, portrayed by Shane Johnstone. Never heard of him? That's because this was his only movie). The original script was essentially going to explore more of the sexuality between a young girl and the handsome stranger known as The Huntsman. However, during casting, Sarah Patterson shined above the other young performers and was chosen for the role, but due to her being so young (only 12/13 years old) they had to change the script and so their interaction was reduced to nothing more than a bet which would lead to a kiss, but the kiss is then a simple peck on the lips as the Rosaleen jumps back with the line "My what big teeth you have!".
Here's a tip when you watch this movie. Look around Rosaleens room at the beginning and pay attention to her dolls etc. Some of the props will help the film make more sense because one thing I should have mentioned at the start is that this story takes place in a young girls dream (Also portrayed by Sarah Patterson) and the finale is spectacular.
The wolves for the majority of their appearances are easily noticeable as being nothing more than domestic German Shepherds, but that makes sense when you think about this being a girl's dream, and this girl in fact owns a pet German Shepherd.
The best part and the most horrific part of this movie, is the transformations of two of the characters. Stephen Rea's character is a young groom in one of Granny's stories that she tells to Rosaleen, and his transformation into wolf form is one of the most graphic transformations I have ever seen in a film, and despite the use of an animatronic dog, which in part takes away some of the magic, you have to remember this was 1984 and these kinds of films were not going to have the amazing technology we have today and you have to give so much credit and respect to Neil Jordan for using practical effects.
The Huntsmans transformation is less gory but definitely not any less creepier, as we see an extended tongue, and a lot of physical body transformation before a wolf snout comes bursting out of his mouth and fur rips through his skin. Both of these portrayals of the transformation were a representation of the running theme that men have beasts inside of them, that only appear when they are angry or upset.
I highly recommend this film, but I have warned you beforehand. If you do watch this film, feel free to discuss it with me because as I said it is one of my favourites and is lesser known to many audiences.
James P. Sumner (65 KP) rated Joker (2019) in Movies
Oct 7, 2019
An unapologetic masterpiece.
I wasn't sure what to expect going into this film. I'm a huge comic book fan, so the controversy and scepticism surrounding this movie, as well as the fact it's based within an established story world, had me doubting how it would work and how good the execution of it would be.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.