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Daniel Boyd (1066 KP) rated Midnight Special (2016) in Movies
Jul 21, 2017
A Modern Sci-Fi Classic
This movie really impressed me. Michael Shannon is, as always, fantastic in his performance and he showed a side of character here that we don’t normally get to see from him. He plays a compassionate and loving father on a mission and he will stop at nothing to succeed. Joel Edgerton is also typically brilliant in the film. He plays an old fried of Shannon’s character helping him on his quest and again is different here to any other role we have seen him in so far. Frankly I think these two actors are two of the best working in Hollywood today and this movie showcases their diversity, talent and ability to totally vanish into a role and sell their performance effortlessly. However, the real star of the show is the young actor Jaeden Lieberher, who plays Alton Meyer, the extraordinary boy that the plot revolves around. When I first saw his performance I thought he was extremely good for a child actor, but reflecting on it again, it is just a fantastic performance regardless of his age. His chemistry with the other actors was spot on and he carried this movie flawlessly, which left me very impressed. Kirsten Dunst also makes an appearance as Alton’s mother and again gives a stellar performance, she is tired of having to constantly be on the run and although she sometimes doubts her husband’s plan, she sticks by him until their mission is complete. Adam Driver is the scientist working for the government who are after Alton and he puts in a decent performance as the pseudo antagonist of the movie. I should really stop here though as you are better going into this movie with as little previous knowledge as possible. In summary, this is the movie that Super 8 wishes it was, essentially it’s ET for grown ups and it is definitely worth your time and money.
MaryAnn (14 KP) rated The Love Letter in Books
Mar 5, 2019
When Chloe is given a peek at the script for an epic love story, she decides to take her destiny into her own hands and request an audition for the lead female role, Esther Kingsley. The compelling tale, inspired by family lore and a one-page letter from the colonial ancestor of scriptwriter Jesse Gates, just might break her out of this career-crippling rut. Jesse would rather write about romance than live through it after his past relationship ended in disaster. But once on-set together, the chemistry between Jesse and his leading lady is hard to deny.
Centuries earlier, in the heart of the Revolutionary War, Hamilton Lightfoot and Esther Longfellow wrote their saga off the silver screen. Esther’s Loyalist father opposes any relationship with Hamilton, but Esther must face her beloved father’s disapproval and the dangers of war in order to convince Hamilton of their future together. Hamilton has loved Esther for years and on the eve of battle pens the love letter she’s always wanted—something straight from the heart.
Set in stunning upcountry South Carolina, The Love Letter is a beautifully-crafted story of the courage it takes to face down fear and chase after love, even in the darkest of times. And just maybe, all these generations later, love can come home in a way, not even Hollywood could imagine.
My Thoughts:
This book was wonderful. It is a fast-paced book, the story flows well and keeps the reader interested. The characters are entertaining and easy to identify with. The reader finds themselves in the middle of the storyline cheering the characters on. I enjoyed the mix of past and present in the writing, it helped identify with all of the characters and helped the reader understand each of the main characters; what they were feeling and understanding what their life was like. Full of surprises, twists and fun, this is a great read. I highly recommend this book, giving it a 5-star rating.
Centuries earlier, in the heart of the Revolutionary War, Hamilton Lightfoot and Esther Longfellow wrote their saga off the silver screen. Esther’s Loyalist father opposes any relationship with Hamilton, but Esther must face her beloved father’s disapproval and the dangers of war in order to convince Hamilton of their future together. Hamilton has loved Esther for years and on the eve of battle pens the love letter she’s always wanted—something straight from the heart.
Set in stunning upcountry South Carolina, The Love Letter is a beautifully-crafted story of the courage it takes to face down fear and chase after love, even in the darkest of times. And just maybe, all these generations later, love can come home in a way, not even Hollywood could imagine.
My Thoughts:
This book was wonderful. It is a fast-paced book, the story flows well and keeps the reader interested. The characters are entertaining and easy to identify with. The reader finds themselves in the middle of the storyline cheering the characters on. I enjoyed the mix of past and present in the writing, it helped identify with all of the characters and helped the reader understand each of the main characters; what they were feeling and understanding what their life was like. Full of surprises, twists and fun, this is a great read. I highly recommend this book, giving it a 5-star rating.
Rob P (30 KP) rated Norse Mythology in Books
Apr 22, 2019 (Updated Apr 23, 2019)
very accessible (3 more)
reads like an anthology
simplified for story format
great starting point
no information related to the Norse religion as it was practiced. (1 more)
presumes the knowledge of certain intricacies on behalf of the reader
Norse My"Thor"logy
Contains spoilers, click to show
Ah what an enjoyable read.
I love mythology, and this book is a great starting point if you wish to know about the more "Hollywood" stars of Norse myth (Odin, Thor, Loki, the dwarves and frost giants, Hel (or Hela, as marvel would have it) Frey and Freya and Mimir and Heimdall and a host of others whose names you may have heard).
One of the acclaims on the front of the book sums this up quite well. "Gaiman takes on the role of the fireside Bard" - it's an easy metaphor to use, as this really is a collection of stories simplified to tales of adventure and deceit.
The vikings (or Scandinavians in general) were clearly looking to explain certain phenomena using these characters (much like Greek and Roman mythology) and I love reading about that. Trying to put myself in the position of an awed villager hearing thunder and the seeing the flash of lighting, reasoning that it must be the indomitable Thor, wielding the mighty Mjollnir, ending the life of a wicked Frost Giant with a gigantic blow. Or feeling an earthquake, and believing it must be Loki, trapped in his mountain prison, the burn of the snake's venom corroding his face as his screams of agony set the very mountains to trembling. Waiting for Ragnarok to break his bonds and have his revenge on the gods. Wonderful stuff.
If you have any interest in mythology and (like me) you don't want to dive into more reference or poetry-based offerings right away, this is a great place to start.
I guarantee that once you do, you may very well want to carry on into the more heavy hitting titles out there pertaining to Norse myth.
Definitely recommended.
Rob
I love mythology, and this book is a great starting point if you wish to know about the more "Hollywood" stars of Norse myth (Odin, Thor, Loki, the dwarves and frost giants, Hel (or Hela, as marvel would have it) Frey and Freya and Mimir and Heimdall and a host of others whose names you may have heard).
One of the acclaims on the front of the book sums this up quite well. "Gaiman takes on the role of the fireside Bard" - it's an easy metaphor to use, as this really is a collection of stories simplified to tales of adventure and deceit.
The vikings (or Scandinavians in general) were clearly looking to explain certain phenomena using these characters (much like Greek and Roman mythology) and I love reading about that. Trying to put myself in the position of an awed villager hearing thunder and the seeing the flash of lighting, reasoning that it must be the indomitable Thor, wielding the mighty Mjollnir, ending the life of a wicked Frost Giant with a gigantic blow. Or feeling an earthquake, and believing it must be Loki, trapped in his mountain prison, the burn of the snake's venom corroding his face as his screams of agony set the very mountains to trembling. Waiting for Ragnarok to break his bonds and have his revenge on the gods. Wonderful stuff.
If you have any interest in mythology and (like me) you don't want to dive into more reference or poetry-based offerings right away, this is a great place to start.
I guarantee that once you do, you may very well want to carry on into the more heavy hitting titles out there pertaining to Norse myth.
Definitely recommended.
Rob
Steve Fearon (84 KP) rated Insidious: Chapter 3 (2015) in Movies
Sep 7, 2018
A good antagonist for this one (1 more)
An interesting approach to character helplessness
Overall drop in quality of the cast and camerawork is noticable. (1 more)
Lacks some of the character of the first 2 movies
Whannell Takes the wheel...
So the third instalment sees co-writer Leigh Whannell take the wheel of this fledgling franchise, probably since James Wan is one of the busiest men in hollywood.
Whilst the familar faces of the first two movies are missing in this prequel, the mystic (Elise) returns as the point of familiarity, and one suspects the popularity of her character has led to this prequel.
The casting of the movie is interesting, with a generally weaker cast despite a bigger budget...the main protagonist does a decent job of essentially being a teenage scream queen, being pursued by a breathing-masked ghost/entity with mucky feet that torments her after she has her legs broken in a car accident.
Her claustrophobic situation, being essentially bed-bound, leads to a number of uncomfortable scenes, with the very creepy 'man who can't breath', as well as a hand, foot and faceless woman at one point.
The pacing of this film seems a little faster, getting to the ghostly scenes much quicker, and perhaps a little impatient to get to the moneymaking shots, some of which felt a little tacked on as 'additional scares' without any context, but they are mostly fun so I can let them slide.
The film answers a few questions about Elise, and how she meets the two goons that follow her around during the other films, as well as showing her talking with the other psychic from Insidious 2, and they are constantly making references to the family from the earlier movies, but most of this is pretty incidental to the core of the actual film itself.
All in all its a solid if unspectacular sequel, with some great moments, some clunky exposition and throwbacks, and some questions answered that you never knew needed answering!
Whilst the familar faces of the first two movies are missing in this prequel, the mystic (Elise) returns as the point of familiarity, and one suspects the popularity of her character has led to this prequel.
The casting of the movie is interesting, with a generally weaker cast despite a bigger budget...the main protagonist does a decent job of essentially being a teenage scream queen, being pursued by a breathing-masked ghost/entity with mucky feet that torments her after she has her legs broken in a car accident.
Her claustrophobic situation, being essentially bed-bound, leads to a number of uncomfortable scenes, with the very creepy 'man who can't breath', as well as a hand, foot and faceless woman at one point.
The pacing of this film seems a little faster, getting to the ghostly scenes much quicker, and perhaps a little impatient to get to the moneymaking shots, some of which felt a little tacked on as 'additional scares' without any context, but they are mostly fun so I can let them slide.
The film answers a few questions about Elise, and how she meets the two goons that follow her around during the other films, as well as showing her talking with the other psychic from Insidious 2, and they are constantly making references to the family from the earlier movies, but most of this is pretty incidental to the core of the actual film itself.
All in all its a solid if unspectacular sequel, with some great moments, some clunky exposition and throwbacks, and some questions answered that you never knew needed answering!
LeftSideCut (3776 KP) rated Tomb Raider (2018) in Movies
Oct 25, 2019 (Updated Nov 5, 2019)
Amazingly average, wholly unessecary
Here we have a reboot of a mildly popular film franchise, based on a video game that is a reboot of a hugely beloved game series.
To sum up Tomb Raider in brief - if you are a fan of the original games, and don't really like the direction the recent games have taken, there is probably nothing here that will interest you.
If you are a fan of the recent game series, then you are probably better off just playing those instead of watching the movie adaption.
The film itself isn't terrible by any means, it's just completely bland and forgettable.
The plot is a run of the mill treasure hunting escapade, which we have seen countless times before, and done much better, with irrelevant side plots that bog down an already boring plot.
The action is so so, with some nice stunt work scattered here and there.
Alicia Vikander seems bored herself - I think as a movie, Tomb Raider is (very slightly) more credible than than the early 2000 efforts, but I do think the character of Lara Croft benefits from Angelina Jolie's charm.
It's like the writers couldn't decide whether to adapt the inexperienced and fighting-to-survive Lara Croft from the reboot series, or the more confident, one-liner Lara Croft from the original series, resulting in a flat adaption of either one.
All of the other characters involved are just as flat, so much so that I genuinely can't remember any of their names, or even who played them, with the exception of Dominic West - that dude is just in everything.
The script doesn't help matters one bit, threatening to put you to sleep at any given moment, and riddled with unintentionally funny Hollywood rubbish.
In summary, Tomb Raider can join the ever growing festering pile of dissapointment that are video game movies. (Except you Detective Pikachu, we love you <3)
To sum up Tomb Raider in brief - if you are a fan of the original games, and don't really like the direction the recent games have taken, there is probably nothing here that will interest you.
If you are a fan of the recent game series, then you are probably better off just playing those instead of watching the movie adaption.
The film itself isn't terrible by any means, it's just completely bland and forgettable.
The plot is a run of the mill treasure hunting escapade, which we have seen countless times before, and done much better, with irrelevant side plots that bog down an already boring plot.
The action is so so, with some nice stunt work scattered here and there.
Alicia Vikander seems bored herself - I think as a movie, Tomb Raider is (very slightly) more credible than than the early 2000 efforts, but I do think the character of Lara Croft benefits from Angelina Jolie's charm.
It's like the writers couldn't decide whether to adapt the inexperienced and fighting-to-survive Lara Croft from the reboot series, or the more confident, one-liner Lara Croft from the original series, resulting in a flat adaption of either one.
All of the other characters involved are just as flat, so much so that I genuinely can't remember any of their names, or even who played them, with the exception of Dominic West - that dude is just in everything.
The script doesn't help matters one bit, threatening to put you to sleep at any given moment, and riddled with unintentionally funny Hollywood rubbish.
In summary, Tomb Raider can join the ever growing festering pile of dissapointment that are video game movies. (Except you Detective Pikachu, we love you <3)
TacoDave (3721 KP) rated The Fall (2006) in Movies
Aug 8, 2019 (Updated Aug 8, 2019)
Acting (2 more)
Visuals - so amazing!
Story
Unlike any movie you have seen before
Contains spoilers, click to show
I can't really write a review of "The Fall" without spoilers, but this is the kind of movie where spoilers don't necessarily matter. What makes "The Fall" so amazing is much more about the visuals, the mood, and the direction.
Lee Pace plays a Hollywood stuntman in 1920s Los Angeles who was recently injured. He is stuck in bed in a hospital, filled with depression about the current state of his life.
As he lays in bed one day, a young girl with a broken arm enters the room and begins talking to him. They become fast friends, and he begins telling her a fantastical story about five heroes on a quest. The story is told in many sessions over several days, and each time the visual style and costumes and characters change slightly to match what the girl is imagining as she listens.
I won't spoil any more of the story, except to say this: the man has an ulterior motive for telling this particular story, and sometimes the lines between fantasy and reality, between a happy ending and a tragic one, are blurred.
The real star of this movie is the cinematography. The first time I saw it, I literally gasped at one particular scene transition. It was just perfect. The colors are bold, the settings are almost unreal - like nothing I've seen before (even though they exist in the real world) - and the costumes are amazing. I have literally never seen another movie, before or since, that looks like this one. It is stunning.
They say the director, Tarsem Singh, spent years scouting locations to meet his perfect vision. And it was totally worth it.
If you've never seen "The Fall," I wholeheartedly recommend it. I even own it on DVD, so if you want to borrow it, let me know.
Lee Pace plays a Hollywood stuntman in 1920s Los Angeles who was recently injured. He is stuck in bed in a hospital, filled with depression about the current state of his life.
As he lays in bed one day, a young girl with a broken arm enters the room and begins talking to him. They become fast friends, and he begins telling her a fantastical story about five heroes on a quest. The story is told in many sessions over several days, and each time the visual style and costumes and characters change slightly to match what the girl is imagining as she listens.
I won't spoil any more of the story, except to say this: the man has an ulterior motive for telling this particular story, and sometimes the lines between fantasy and reality, between a happy ending and a tragic one, are blurred.
The real star of this movie is the cinematography. The first time I saw it, I literally gasped at one particular scene transition. It was just perfect. The colors are bold, the settings are almost unreal - like nothing I've seen before (even though they exist in the real world) - and the costumes are amazing. I have literally never seen another movie, before or since, that looks like this one. It is stunning.
They say the director, Tarsem Singh, spent years scouting locations to meet his perfect vision. And it was totally worth it.
If you've never seen "The Fall," I wholeheartedly recommend it. I even own it on DVD, so if you want to borrow it, let me know.
Andy K (10823 KP) rated Life After Flash (2017) in Movies
Jul 5, 2019
Flash! Ah Ah!
To say the film Flash Gordon shaped me as a child would be a gross understatement. I worship the film as a screen classic and as one of my favorite films of all time. Ok, I know it's not Citizen Kane; however, it is the Citizen Kane of campy 80s rock operas.
As much as I would love to have an 8 hour conversation with someone about the merits of Flash Gordon, I should be talking about the 2017 film Life After Flash which I don't think I had any choice but to enjoy.
The film itself is kind of divided into to parts. The first half talking to all the surviving principles about how they were cast, the production itself, their interactions with epic producer Dino De Laurentiis and the film's legacy in their eyes. The second half was devoted to star Sam J. Jones himself and his personal journey before, during and after the film was completed and released in 1980.
He talked about how his ego got in the way of production so much so that his voice isn't even used in the film and was dubbed by another actor. He also expounded on his life since talking about dark times when the work dried up and how he even thought of suicide.
Thankfully after many years, Seth MacFarlane and asked him to cameo his most famous role in "Ted" and how that has reignited his film and public appearance career. (As a side note, since I am just a huge Flash Gordon fan, the Sam Jones scenes in Ted are about the funniest scenes ever in a motion picture for me).
Others mention the effects of typecasting in Hollywood. Even director Richard Donner mentions the fate Christopher Reeve has after Superman.
I should watch more documentaries as I always learn things I didn't know before and this great film was no exception.
As much as I would love to have an 8 hour conversation with someone about the merits of Flash Gordon, I should be talking about the 2017 film Life After Flash which I don't think I had any choice but to enjoy.
The film itself is kind of divided into to parts. The first half talking to all the surviving principles about how they were cast, the production itself, their interactions with epic producer Dino De Laurentiis and the film's legacy in their eyes. The second half was devoted to star Sam J. Jones himself and his personal journey before, during and after the film was completed and released in 1980.
He talked about how his ego got in the way of production so much so that his voice isn't even used in the film and was dubbed by another actor. He also expounded on his life since talking about dark times when the work dried up and how he even thought of suicide.
Thankfully after many years, Seth MacFarlane and asked him to cameo his most famous role in "Ted" and how that has reignited his film and public appearance career. (As a side note, since I am just a huge Flash Gordon fan, the Sam Jones scenes in Ted are about the funniest scenes ever in a motion picture for me).
Others mention the effects of typecasting in Hollywood. Even director Richard Donner mentions the fate Christopher Reeve has after Superman.
I should watch more documentaries as I always learn things I didn't know before and this great film was no exception.
Mark @ Carstairs Considers (2269 KP) rated Script for Scandal in Books
Jan 8, 2020
Will a Movie Script Revive a Scandal?
In 1936, a bank robbery took place in Los Angeles. While the robbers were killed, the money was never found, and rumors have circulated that there was someone else involved. Most suspect that the someone else was LAPD Detective Gene Morrow, the boyfriend of Lillian Frost. While the rumors have mostly died down, they are about to come out again in 1939 thanks to a new movie being filmed at Paramount. Costume designer Edith Head has seen the script, and she gets a copy to her friend Lillian so she and Gene can be prepared. Lillian is more concerned than Gene and actively tries to find out who the writer is claiming is his source for this movie. She hasn’t been looking for too long before someone turns up dead. Can Lillian and Edith figure out what happened back then and how it is impacting what is happening today?
I was so happy when this series found a new home because I enjoyed the first two books so much. This book is just as strong. The authors mix real people with the fictional characters so expertly I am sure I missed some of the cameos. Yet everyone comes across as real. I did think the plot was wandering a bit early on, but everything became an important part of the story before it was over. Not that I was complaining since I was hooked for most of the book and couldn’t wait to see how it would all turn out. Both Edith and Lillian are instrumental to solving the crime in the end. Meanwhile, there is a delightful subplot involving Lillian’s boss preparing for a job as an extra that leads to a hilarious scene. This book brings old Hollywood to life in every detail, and I enjoyed every minute spent in that world. This book will delight Edith and Lillian’s fans and win them new ones.
I was so happy when this series found a new home because I enjoyed the first two books so much. This book is just as strong. The authors mix real people with the fictional characters so expertly I am sure I missed some of the cameos. Yet everyone comes across as real. I did think the plot was wandering a bit early on, but everything became an important part of the story before it was over. Not that I was complaining since I was hooked for most of the book and couldn’t wait to see how it would all turn out. Both Edith and Lillian are instrumental to solving the crime in the end. Meanwhile, there is a delightful subplot involving Lillian’s boss preparing for a job as an extra that leads to a hilarious scene. This book brings old Hollywood to life in every detail, and I enjoyed every minute spent in that world. This book will delight Edith and Lillian’s fans and win them new ones.
JT (287 KP) rated Anna (2019) in Movies
Mar 10, 2020
Tell me if you’ve heard this one before? A young woman is pulled from a life of drugs and abuse and given a fresh start as a deadly assassin. Once on the inside, she uses her skill set and good looks to complete various assignments while falling for her handler. She then decides that her new life is not for her after all and wants out.
Writer/director Luc Besson has pretty much rehashed the script for Nikita (aka La Femme Nikita). That film had a remake too, Point of No Return, which starred Bridget Fonda and Gabriel Byrne. This latest offering doesn’t do anything new whatsoever. There are several well choreographed and extremely violent fight scenes as well as a car chase which seems to be a staple part of any Luc Besson film.
It’s not the most intelligently written action thriller. And there are plot holes all over the place.
The sexual exploitation is not as fierce as Red Sparrow. Anna uses an array of colourful wigs and lingerie to entrap her victims before ultimately putting a bullet in them. This only seeks to justify her sex appeal. The supporting cast is OK but nothing special. Helen Mirren is probably the stand out of the bunch, although her character has a striking resemblance to Edna from The Incredibles – or maybe that’s just me?
When Cillian Murphy‘s CIA agent gets involved it becomes hard to know who is double crossing who, and the extra plot strand threatens to confuse things. What results is a kind of Cold War love triangle which gravitates towards an interesting finale only ruined by predictability.
It’s not the most intelligently written action thriller. But it is fun and film fans should appreciate Besson’s high energy and European flair. I prefer him as a writer than director. Anna doesn’t shy away from bringing graphic violence in a Wick-esque style which is often lost with Hollywood blockbusters, so that gets a big tick. But it’s hard not to look past a regurgitated storyline.
Writer/director Luc Besson has pretty much rehashed the script for Nikita (aka La Femme Nikita). That film had a remake too, Point of No Return, which starred Bridget Fonda and Gabriel Byrne. This latest offering doesn’t do anything new whatsoever. There are several well choreographed and extremely violent fight scenes as well as a car chase which seems to be a staple part of any Luc Besson film.
It’s not the most intelligently written action thriller. And there are plot holes all over the place.
The sexual exploitation is not as fierce as Red Sparrow. Anna uses an array of colourful wigs and lingerie to entrap her victims before ultimately putting a bullet in them. This only seeks to justify her sex appeal. The supporting cast is OK but nothing special. Helen Mirren is probably the stand out of the bunch, although her character has a striking resemblance to Edna from The Incredibles – or maybe that’s just me?
When Cillian Murphy‘s CIA agent gets involved it becomes hard to know who is double crossing who, and the extra plot strand threatens to confuse things. What results is a kind of Cold War love triangle which gravitates towards an interesting finale only ruined by predictability.
It’s not the most intelligently written action thriller. But it is fun and film fans should appreciate Besson’s high energy and European flair. I prefer him as a writer than director. Anna doesn’t shy away from bringing graphic violence in a Wick-esque style which is often lost with Hollywood blockbusters, so that gets a big tick. But it’s hard not to look past a regurgitated storyline.
JT (287 KP) rated Starred Up (2014) in Movies
Mar 16, 2020
Violent and to the point (1 more)
Great acting
Prison Isn't Suppoed To Be A Holiday Camp
Prison dramas don’t get much grittier than this. Not since Scum has there been one with as much brutal tour de force. Eric (Jack O’Connell) is ‘starred up’. A term used to describe violent young offenders moved straight into an adult prison. Once he gets inside he comes face to face with the only person that might be able to control him, his father Neville (Ben Mendelsohn).
It’s a major part of their relationship as Nev’s parental tactics involve the cruel to be kind method. It’s the only way that Eric is going to survive and the only way he will walk out in one piece. Eric finds some solace in Oliver (Rupert Friend) whose anger management sessions are a place to unleash a tirade of resentment. It places him within a group where any other individual might find themselves out of their depth – Eric takes it full on.
The film is written by Jonathan Asser, a former prison psychotherapist who worked in HMP Wandsworth. So he more than anyone can inject the film with a massive sense of realism. The prison violence can be hard to watch but you don’t find yourself turning away from the screen.
It’s not shrouded in Hollywood gloss and is shot with graphic precision. Mendelsohn’s performance is excellent playing the psycho and his delivery is spot on. Friend is also a joy to watch and a real talent. The Homeland star-making imprints into the acting elite.
However, this is very much O’Connell’s film and it’s not hard to see why he is fast becoming a standout actor. Grabbing this role in a vice-like grip he battles with his personality, the adoration from his father and a corrupt system who want him eradicated. It doesn’t paint the prison system in a particularly good light but then prison isn’t supposed to be a holiday camp.
It’s a major part of their relationship as Nev’s parental tactics involve the cruel to be kind method. It’s the only way that Eric is going to survive and the only way he will walk out in one piece. Eric finds some solace in Oliver (Rupert Friend) whose anger management sessions are a place to unleash a tirade of resentment. It places him within a group where any other individual might find themselves out of their depth – Eric takes it full on.
The film is written by Jonathan Asser, a former prison psychotherapist who worked in HMP Wandsworth. So he more than anyone can inject the film with a massive sense of realism. The prison violence can be hard to watch but you don’t find yourself turning away from the screen.
It’s not shrouded in Hollywood gloss and is shot with graphic precision. Mendelsohn’s performance is excellent playing the psycho and his delivery is spot on. Friend is also a joy to watch and a real talent. The Homeland star-making imprints into the acting elite.
However, this is very much O’Connell’s film and it’s not hard to see why he is fast becoming a standout actor. Grabbing this role in a vice-like grip he battles with his personality, the adoration from his father and a corrupt system who want him eradicated. It doesn’t paint the prison system in a particularly good light but then prison isn’t supposed to be a holiday camp.
