Tag: Action

Posted in 2020-2029, Film Review

The Creator (2023)

Posted on by Martin: Through the Silver Screen
© 20th Century Studios, Regency Enterprises and Entertainment One

The Creator – Film Review

Cast: John David Washington, Gemma Chan, Madeleine Yuna Voyles, Ken Watanabe, Allison Janney, Sturgill Simpson, Ralph Ineson

Director:  Gareth Edwards

Synopsis: War rages between humanity and artificial intelligence (AI) after a nuclear bomb is detonated in Los Angeles…

Review: Over the course of this year, it has been hard to ignore the increasing prominence of discussions surrounding the usage of AI and where the progression of this technology might lead. Will humanity and AI peacefully co-exist in the not-too-distant future, or will the machines rise and take humanity’s place? Given these questions, there’s something eerily prescient about the latest film from Gareth Edwards. It’s one of the most visually striking films you will see all year.

The year is 2070, and AI has been banned in the Western hemisphere after a nuclear bomb was detonated in the city of Los Angeles fifteen years prior. However, while the West has prohibited the use of the technology, it is embraced by the Eastern hemisphere, and they have integrated AI into their society. When the US learns that the AI is developing a superweapon that could turn the war in their favour, the US army sends Sergeant Joshua Taylor (Washington) to find the weapon and destroy it, only for Taylor to discover that this weapon is, in fact, a robotic simulant in the form of a young child (Voyles).

Humanity facing off in a struggle or at war with an advanced AI of some variety has been a well-trodden path in cinema history, with films such as 2001: A Space Odyssey, Blade Runner and Blade Runner 2049, The Terminator and The Matrix franchises, and most recently M3GAN. All of the aforementioned films, in their own wholly unique way, presented a richly developed world which established the circumstances in which humans and AI were, if not at war, then distinct divisions between them. The screenplay, written by Edwards and Chris Weitz, via a newsreel prologue, establishes a fully fleshed-out world, explaining how the AI started out as allies, working side by side with humanity before going rogue. Given the regularity with which cinema has often tackled this subject, it would be easy for the film to be derivative of what has come before it. However, while there are obvious influences, the story asks pertinent questions about where this technology could go and whether integration between man and machine is possible.

Furthermore, as evidenced by some stunning imagery in Godzilla and Rogue One, Edwards brings some breathtaking visuals to this world, whether it is the AI who have integrated into society or the vast and behemoth military weaponry that the US has in its arsenal.  The impressiveness of the visuals is even more remarkable considering the film’s relatively small budget of $80m, which should serve as food for thought given the high budget and comparatively poor quality of the visuals of some blockbuster films in recent months.

As the central character in this war between humanity and AI, John David Washington is as compelling as ever. We see how he was, at one time in his life, blissfully happy with his wife Maya (Chan) until a devastating event in his past transformed him into a world-weary soldier who chooses to protect this young child when he learns that there could be a connection to Maya. Speaking of the simulant, whom Taylor dubs “Alphie,” given that she was only seven years old during production, she delivers a remarkable breakthrough performance as the heart of the film and steals the entire show. The two build a rapport as they travel to prevent Alphie from falling into the hands of the US military. Furthermore, the discovery of this simulant gives Taylor a fresh perspective on the fragmented nature of the world he inhabits, which also feels very apt given the bitterly divided world we currently live in. With his experience with directing intense action scenes in a galaxy far far away and gargantuan kaiju beating each other up, Edwards brings that expertise to the film’s action set-pieces, backed by another superb score from Hans Zimmer.

Despite boasting some stellar names, the performances of the rest of the cast are hampered by a lack of development, particularly Allison Janney’s Colonel Howell who seems hell-bent on finding this new weapon and cares for little else besides that. Similarly, Ken Watanabe’s simulant soldier Harun is a badass and heroic fighter, but he doesn’t get room to grow beyond these traits. While the film’s exploration of AI and its potential future applications is thought-provoking and nuanced, the same cannot be said for its on-the-nose examination of how Western countries, particularly the US, can conduct invasive military campaigns on foreign soil, which feels somewhat heavy-handed.

Nevertheless, in an era where big tentpole blockbuster films tend to be attached to existing properties or as a part of a franchise, it is refreshing to see an original and thought-provoking piece of filmmaking come to the fore, particularly given its approach to a subject that humanity will be talking about for many decades to come. Could this film be prophetic? Only time will tell.

While it may not have the most well-developed characters, boasting mesmerising visuals and a thought-provoking approach to its topical subject matter in a richly developed futuristic world ensures this is a welcome return to the realm of blockbuster filmmaking for Gareth Edwards.

Posted in 2020-2029, Film Review

Mission: Impossible – Dead Reckoning (2023)

Posted on by Martin: Through the Silver Screen
© Paramount Pictures, Skydance and TC Productions

Mission: Impossible – Dead Reckoning – Film Review

Cast: Tom Cruise, Rebecca Ferguson, Simon Pegg, Ving Rhames, Hayley Atwell, Vanessa Kirby, Henry Czerny, Pom Klementieff, Esai Morales

Director:  Christopher McQuarrie

Synopsis:  Ethan Hunt and the IMF find themselves in a race against time to prevent a new weapon from being utilised by a powerful enemy…

Review: Ever since making his first screen appearance as secret agent Ethan Hunt in 1996, the unparalleled commitment of Thomas Cruise Mapother IV to pull some truly insane and incredible stunts has made him practically unrivalled in terms of an out-and-out movie star. Here’s a man who has across nearly three decades of this franchise, among other things, climbed the tallest building in the world, hung off a plane in mid-air,  performed a HALO jump and flown a helicopter for a pulsating tense chase sequence, all in the name of entertaining the audience. The success of last year’s Top Gun: Maverick, which was filled with some of the best aerial combat sequences ever captured on film, reinforced Cruise’s status as a box office draw. Now after a long and arduous journey to get to the big screen thanks to the Covid pandemic, Cruise once again suits up as Ethan Hunt for another nail-biting mission.

As the trailers kept the plot shrouded in secrecy, it would be impolite to go into massive amounts of detail about the plot. Suffice it to say, given the extraordinary amount of conversations which have been generated by the subject in question, it is extremely timely, packs what you’d normally expect from an MI adventure, and ensures the stakes for this seventh instalment somehow feel even bigger than its previous entries. When Ethan Hunt and the IMF learn of the existence of a new threat which would unleash global chaos if it fell into the wrong hands, Hunt along with trusted associates Benji (Pegg) and Luther (Rhames) and Ilsa (Ferguson) must set off another global mission to retrieve an artefact which could lead to this mysterious new weapon, while being pursued by an array of other forces who have also taken an interest in this weapon, which includes Vanessa Kirby’s Alanna Mitsopolis AKA the White Widow.

Given the remarkable longevity with which he has played this character, it will not come as a shock to learn that Cruise is once again terrific and there is genuinely no one else in the world who could possibly take on this role at this point. He continues to prove that age is just a number as despite now being into his sixties, he remains as committed as ever to throwing everything he has at the stunts this franchise has become so well known whether that be a crazy car chase, an exhilarating chase sequence or actually driving a motorbike off a cliff. While none of his IMF colleagues are involved with such extraordinary stunts, as is the case with Cruise, they have embodied these characters for so long now, they’re on reliably good form. As for new characters, the most noteworthy is Hayley Atwell’s Grace, a mysterious character who gets entangled with the IMF’s hunt for this mysterious weapon. With Sean Harris’s Solomon Lane now out of the picture, the latest villain to pose problems for the IMF comes in the form of Esai Morales’s Gabriel. While he is not the most well-developed villain in the franchise, he nevertheless proves to be a methodical antagonist who poses a substantial threat to give Ethan and the IMF a substantial headache, along with Paris (no, not the city), but instead, a sword-wielding assassin played with evil glee by Pom Klementieff.

While the stunts in this latest instalment continue to push the boundaries for what action cinema is capable of, it does come at a cost. In this entry of the franchise, more than any other which has been helmed by McQuarrie, it is noticeable that while the filmmakers go all out in terms of the action and the mind-bogglingly impressive level of stuntwork which must go into bringing them to life, McQuarrie and Erik Jendresen’s script stutters as a result. In this instalment, more so than any other film helmed by McQuarrie, it is apparent the screenplay is worked around the stunts and the unintended consequence of that is the events in the first act are a little convoluted and messy in its first act as it establishes the groundwork for what this mysterious weapon is and why it is so heavily sought after.

Once these wrinkles have been ironed out, the film kicks firmly into gear and its 163-minute run time flies by as quickly as its lead star can run. While it might not scale the heights of its predecessors (it will seriously be hard to beat that Burj Khalifa climb, the HALO jump or the jaw-dropping helicopter sequences), the intensity of the third act will have you in its grip for the entirety and will not let go until the credits have begun to roll. Time will tell just how long this franchise will have legs for, but so long as its star is willing to keep on running and pulling off more insane stunts, and its director remains committed to making them, it’s unlikely to run out of road or missions any time soon.

Following the pulsating highs of Fallout was always going to be a mission not even the IMF could accomplish. Nevertheless, the unwavering star power of Cruise and his commitment to delivering adrenaline-fuelled entertainment ensure that coming back for Part Two will be a mission audiences will be more than willing to accept. 

Posted in 2020-2029, Film Review

Indiana Jones and the Dial of Destiny (2023)

Posted on by Martin: Through the Silver Screen
© Walt Disney Pictures and Lucasfilm

Indiana Jones and the Dial of Destiny – Film Review

Cast: Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, John Rhys-Davies, Toby Jones, Boyd Holbrook, Ethann Isidore, Mads Mikkelsen, Shaunette Renée Wilson

Director:  James Mangold

Synopsis: Legendary archaeologist Indiana Jones finds himself in a race against time, and the Nazis,  in a bid to recover a historical artefact…

Review: Whether it be the fedora, the whip, his sense of adventure, his charm, or the fact he loves to give a Nazi or two a punch to the face, the appeal of Dr Henry Walton “Indiana” Jones Jr is one which has endured throughout the decades ever since he made his debut in 1981’s Raiders of the Lost Ark. The subsequent three films which followed may have varied in quality, but what did not vary was the popularity of this character, which has endured to the point where he is widely regarded as one of the greatest characters in the history of cinema. Fifteen years after what was billed as his last adventure, Indy has dusted off the leather jacket and the whip, for another go at one final adventure.

The year is 1969 and Dr Jones is on the brink of retirement from his teaching job as a university lecturer. The Space Race between the USA and the Soviet Union is in full swing, with the former poised to be the first country to send people to the moon. While once his students were fascinated by the subject of archaeology, now they’re completely unenthusiastic and are far more interested in space, leaving Indy facing up to the prospect of a rather lonely future in retirement. This is until his goddaughter Helena Shaw (Waller-Bridge) shows up out of the blue seeking Indy’s help to locate an ancient historical artefact in the form of a dial, which is said to have belonged to Archimedes. Though, of course, the dial is also being pursued by former Nazi Jurgen Voller (Mikkelsen), who has since been recruited by NASA to assist the US with their efforts in the Space Race.

Before the globetrotting adventure to retrieve this artefact can begin however, the film turns back time to a thrilling 20-minute prologue set during the tail end of World War II minute prologue, where a younger Indy (via a digitally de-aged Ford) and his fellow archaeology enthusiast Basil Shaw (Jones) are in search of another artefact which they believe may be in the possession of the Nazis of. However, a chance encounter leads them to this dial which may or may not have some kind of magical powers of some kind to it. It wouldn’t be an Indy film without it! Fast forward 25 years, and Indy and Helena set off on a new adventure to retrieve this priceless treasure before it falls into the wrong hands.

Ford is an actor who has no shortage of legendary roles to his name, each of which he has reprised over the years to wonderful effect, and Indy is no exception. It is apparent Ford has a great affinity for this character, and despite his age, he puts in a committed performance proving there is no one else to don Indy’s fedora. Given the length of time Ford has played this role, the script by Jez Butterworth, John-Henry Butterworth, David Koepp and James Mangold leans into this longevity and the fact that an adventure of this nature would wear an adventurer of his age down. His general grumpiness, combined with Helena’s endless energy and enthusiasm, lends itself to some comedic moments, and Waller-Bridge is tremendous in the role. She is easily given the most development out of all the new characters, which is frustrating particularly where Mikkelsen’s villain is concerned. He’s an actor who has proved he can play a thoroughly unlikeable villain with nuance and subtlety to the point where you almost feel sorry for him. Unfortunately, the script doesn’t develop him much beyond he’s a former Nazi who is desperate to find this dial for his nefarious purposes and so Indy and Helena must stop him and his assortment of goons led by Boyd Holbrook’s Klaber at all costs.

It is strange that for an Indiana Jones film, there is no involvement of either franchise creator George Lucas or the director of the first four films Steven Spielberg, with both instead serving as executive producers. Taking on the reins from Spielberg is an unenviable task, but it is one which James Mangold rises to. He is a director who notably has experience with giving a beloved character the swansong they deserve and has an incredibly broad range of films across a multitude of genres in his career. The action scenes have a vibrant energy to them and are visually stunning to look at especially the opening prologue and some of the action scenes in the second act. While these are fun to watch, the film clocks in at nearly two and a half hours, it is the longest film in the franchise to date and you begin to feel that run time by the end due to some sluggish pacing. Furthermore, the film can feel a bit too reliant on the by-the-numbers nature of its plot and the nostalgia many will undoubtedly have for this franchise, aided by the score that the living legend John Williams provides. Matching the lofty standards set by two-thirds of the original trilogy (looking at you Temple of Doom), was always going to be a tall order. However, where Kingdom of the Crystal Skull fell short, Dial of Destiny turns back time to let this character roll back the years and enable him to take a final bow befitting of an iconic screen legend.

While it leans a bit too much its nostalgia and its tried and tested formula, the committed performances from Ford and Waller-Bridge ensure the legendary archaeologist’s final adventure is one which is absolutely worth going on.  

Posted in 2020-2029, Film Review

Polite Society (2023)

Posted on by Martin: Through the Silver Screen

Polite Society – Film Review

Cast: Priya Kansara, Ritu Arya, Nimra Bucha, Akshay Khanna, Seraphina Beh, Ella Bruccoleri, Shobu Kapoor, Jeff Mirza

Director: Nida Manzoor

Synopsis: An up-and-coming martial artist must hatch a plan to save her sister when she gets engaged…

Review: In the history of cinema, the genre of kung-fu/martial arts is one which has been typically male-dominated, with the works of icons such as Bruce Lee and Jackie Chan inspiring filmmakers to this day. However, there has been no shortage of iconic female characters who have left their mark on this genre, such as Uma Thurman’s The Bride from Kill Bill or some of the many films starring the icon that is Michelle Yeoh, including a certain Academy Award-winning multiverse inspired adventure. On the back of that film’s phenomenal success, which only added proof (as if it was needed) of women firmly establised their credentials as badass warriors capable of taking anyone down, along comes Nida Manzoor with her wickedly funny directorial debut to reinforce that notion, and is ready to chop down anyone who would say otherwise.

Ria (Kansara) is an aspiring martial artist codenamed “The Fury” and harbours ambitions to become a prominent stuntwoman for major Hollywood productions. She is close with her sister Lena (Arya), who moved back home after dropping out of art school.  Lena helps to film the videos for Ria’s YouTube channel and the sisters have formed a close bond. However, their relationship is strained when Lena meets the handsome Salim (Khanna) and promptly falls head over heels for him. When Lena accepts Salim’s proposal of marriage after a relatively short period of time of being together, Ria becomes immediately suspicious and must use a combination of her martial arts expertise and aspiring sleuth skills, with the assistance of her friends Clara (Beh) and Alba (Bruccoleri), to try to understand what it is about Salim that has captured Lena’s heart and form a plan to somehow prevent her sister from going through with tying the knot.

Hell Hath No Fury like the fists of The Fury…

As the budding young martial artist at the centre of this delightful fusion of Bollywood, meets action comedy, meets coming-of-age tale, Priya Kansara’s wonderful breakthrough performance deserves to put her on an immediate path to stardom. Her commitment and dedication to her craft as a martial artist, and unwavering career ambitions are immediately relatable. Her relationship with Lena is also very sincere and both Kansara and Arya share a warm chemistry, where both sisters are passionate and determined to support each other in their lives, particularly given the expectations of their parents (Shobu Kapoor and Jeff Mirza). Though their bond is put to the test when Salim enters the picture and the looming possibility of seeing her sister married to this man prompts Ria and her friends to get creative with their sleuthing, which lends itself to plenty of comedic moments.

With a handful of TV directorial credits under her belt, including Doctor Who and her Channel 4 comedy series We Are Lady Parts, Manzoor makes the transition to the big screen seamlessly. Her script captures the family dynamic of a British-Asian family, while also being instantly relatable for anyone who’s harboured ambitions to make their mark on their chosen profession and will stop at nothing to achieve it, even in the face of setbacks. Yet, this is just one facet of the film, with some fast-paced, exhilarating action scenes. The influences of the works of Edgar Wright’s Cornetto Trilogy and Scott Pilgrim are undeniable, but Manzoor’s direction is assured and framing these scenes against a backdrop of a traditional Pakistani wedding works to perfection. Furthermore, PC Williams’s costume design ensures these colourful and stunning wedding garments leap off the screen.

Without straying into too much detail, there’s an element of outlandishness to the direction the plot goes in. However, given the film is a near blast to watch from start to finish, it is easy enough to roll with the punches and enjoy the ride. In a year, which has already seen the wonderful Rye Lane charm audiences with its fresh take on the rom-com genre and establish Raine Allen-Miller as an exciting new voice among up-and-coming British filmmakers. Nida Manzoor follows suit with a wonderfully unique film, which lets the fists of The Fury fly, all while celebrating the power and badassery of women and the unbreakable bond of sisterhood.

A joyous fusion of the warm and loving bond between sisters, quintessential British comedy and a celebration of Bollywood, as well exhilarting action sequences ensures Polite Society is a fist-pumping good time, with a star-in-the-making performance from Priya Kansara.

Posted in 2020-2029, Film Review

The Woman King (2022)

Posted on by Martin: Through the Silver Screen
© Sony Pictures Releasing, TriStar Pictures, eOne and TSG Entertainment

The Woman King – Film Review

Cast: Viola Davis, Thuso Mbedu, Lashana Lynch, Sheila Atim, John Boyega

Director:  Gina Prince-Bythewood

Synopsis: A group of all-female warriors in a West African kingdom seek to protect and defend their lands from enemy outsiders…

Review:  The subject of history is an endlessly fascinating one as it enables us to revisit specific periods of the past and learn about a plethora of different cultures and civilisations that have existed throughout the centuries human life has existed on this planet. Indeed, one of the many wondrous aspects of films is they can shine a spotlight on these civilisations and bring them to life in such a rich, beautiful and meaningful manner. While some societies have been covered more than others, there are others who have not been talked about as much as they should be. This is precisely what this enthralling historical epic from Gina Prince-Bythewood does, by shining a light on an incredibly fierce troop of all-female warriors, the Agojie.

Set in the Kingdom of Dahomey, West Africa, General Nanisca (Davis) is the commander of the Agojie, an all-female elite troop of warriors who are sworn to protect the Kingdom from enemy forces that wish to conquer them, most notably the Oyo Empire. Nanisca is seeking capable warriors from the next generation to join this prestigious arm and to prepare their people for the defence of their homeland. Seeking to prove herself worthy to be a part of this elite group of warriors is Nawi (Mbedu) who is determined to prove herself after being shunned by her family for refusing to be married off to suitors chosen by her father. Her ambition and relentless determination capture Nanisca’s and, and Igozie’s (Lynch) attention, the latter of whom resolves to provide Nawi with the tutelage she will need to succeed in her aim to become part of the Agojie and successfully defend their land.

Having a historical epic like this being led by a predominantly black, female cast is a hugely significant moment for these types of big-budget blockbusters, the importance of representation and giving a platform for filmmakers to tell stories from the perspective of these civilisations cannot be overstated. The screenplay from Dana Stevens tackles first and foremost, female empowerment and the sheer intensity and skill of the Agojie on the battlefield. However, it also drives the significance of home, a family and a vibrant community which would enable a new recruit to rise through the ranks and take her place as part of the Agojie, who served as the inspiration for the Dora Milaje from Black Panther. In addition, the film crucially does not shy away from the part the Dahomey Kingdom had in the slave trade.

To be the leader of the kingdom’s all-powerful group of female warriors, you need an actor who brings a commanding screen presence every time she steps in front of a camera. Someone who has the aura of someone you would dare not cross or talk back to, and Viola Davis brings both those qualities in abundance. Nanisca is the exact sort of leader you want to have on the front line of the battlefield. However, there is far more to Nanisca’s character than being the commander of the Kingsguard, there’s a very personal element to her story which comes to the fore when she meets Nawi. To be tasked to act alongside a legend of the industry like Davis is far from an easy feat. However, Mbedu rises to the challenge in spectacular fashion, a feat all the more impressive considering this is her feature film debut. Lashana Lynch’s career is going from strength to strength and she gives perhaps the performance of her career thus far, being the warrior to take Nawi under her wing and offer invaluable advice, while John Boyega is the perfect combination of gravitas and a surprising amount of humour with his role as King Ghezo.

Through all of the moving exploration of the community of the Agojie and the powerful bond between all of these amazing and brave warriors, under Prince-Bythewood’s soaring direction, the battle scenes are immaculately helmed and enthralling to watch. There is one minor side plot with a romance between Nawi and a man who is travelling with a group of slave traders which is not properly developed and could have easily been cut out from the final cut, but it is not enough to drag the film down. Historical epics have rarely been told from the perspectives of black women, and showcasing these extraordinary warriors deserves to be celebrated and championed.

Through its extraordinary ensemble cast, led by Viola Davis, The Woman King delivers emotionally resonant themes of female empowerment combined with enthralling action scenes that will have you bowing down in awe.

 

 

 

 

Posted in 2020-2029, Film Review

Bullet Train (2022)

Posted on by Martin: Through the Silver Screen
© Columbia Pictures, North Productions and Sony Pictures

Bullet Train  – Film Review

Cast: Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Benito A Martínez Ocasio, Zazie Beetz, Sandra Bullock

Director:  David Leitch

Synopsis: A group of assassins aboard a high-speed train in Japan discover that their respective missions are interconnected…

Review:  Trian delays and cancellations, expensive fares and overcrowding in stations and on platforms, are some of the many problems that can all quickly turn the most pleasant of journeys into a nightmare. Hence, the idea of a super-fast train that could get you to your destination in an even shorter time seems like it would be the speediest and most stress-free commute ever. Yet, imagine if your train had several dangerous, highly skilled assassins, sitting in its carriages, it might well persuade someone to look for alternative routes. However, with director David Leitch the conductor of this service, this is one train ride you will definitely want to board.

Ladybug (Pitt), is a down-on-his-luck assassin, who while extremely good at his job is, determined to get out of the profession. Tasked by his handler (Bullock) to get on the world’s fastest bullet train travelling from Tokyo to Kyoto, retrieve a briefcase, and get off at the next stop seems like an easy enough assignment. However, matters get considerably complicated when Ladybug realises that he is not the only one aboard the train who has taken an interest in the briefcase. With a plethora of highly skilled assassins on board (with what at first glance appear to be unrelated missions), the realisation soon dawns on Ladybug that there is a connection between their presence and the highly dangerous criminal known only as The White Death. Turning what should have been a simple mission into a more complex one, Ladybug finds himself entangled in a brutal web of violence that thrillingly goes off the rails.

Adapted from Kôtarô Isaka’s novel of the same name, Zak Olkewicz’s screenplay wastes very little time establishing the key characters at play that all for one reason or another, have an interest in this briefcase. The screenplay also utilises non-linear storytelling to establish each character’s motivations and who is in whose respective crosshairs. The use of non-linear storytelling can initially be a bit hard to follow. However, once you have reached the light at the end of this tunnel and the tracks converge, all becomes clear.

There are a pair of contract killers who go by the aliases of Tangerine (Taylor-Johnson) and Lemon (Tyree Henry), a mysterious assassin known as The Prince (King) who puts on a youthful persona to her advantage in order to deceive her enemies, an assassin known as the Wolf (Ocasio) is out on a deeply personal revenge mission. Lastly, there’s Yuichi Kimura (Andrew Koji), who like The Wolf, is also on a deeply personal mission following a family accident. Lastly, you have Kimura’s father, known only as the Elder (Sanada) who’s doing all he can to protect his family. However, for all of the wonderful talent that the film undeniably boasts, there is an element of whitewashing that is extremely difficult to overlook. Given the film’s source material and the setting, to have only two Japanese actors among the core cast feels like a massive missed opportunity.

Despite that misstep with the casting, every actor here is having a ton of fun with the material, and for the first two acts of the film, it is a delightfully riveting watch. Like the speeding bullet train, the mystery of this case, why all these different assassins with different agendas are after begins to unravel in a gloriously bloody fashion. Brad Pitt is someone who has carved a career as one of the most recognisable A-listers working today, and once again, he brings his usual charisma. It is however Tyree Henry and Taylor-Johnson, as the hilarious double act of British assassins who steal the show. Sharing witty and often hilarious banter over topics such as Thomas the Tank Engine, these guys have built a very sincere familial-like friendship built over the missions they have shared together, making their relationship the heart and soul of the film.

David Leitch is well-versed in the world of action filmmaking, especially given his prior stuntman experience. His attention to detail provides Bullet Train with an eye-pleasing visual aesthetic, that boasts highly stylised action scenes and violent payoffs. Confining the action scenes to the narrow aisles of a speeding train is a refreshing change of pace, as it gives the characters a real headache, forcing them to scrap in an area where there is not exactly much room to hide. Despite clocking in at two hours and six minutes, this particular train journey begins to run out of steam towards the end and would have benefitted if it had concluded its journey a few stations prior. Nevertheless, the end product is such a riotous blast of fun that by the time this train has reached the end of the line, you will want to immediately book a return ticket.

It might seem like the commute from hell, but pulsating action and every single member of the cast having a blast makes this particular train journey an extremely enjoyable and exhilarating ride. 

 

 

Posted in 2020-2029, Film Review

Top Gun: Maverick (2022)

Posted on by Martin: Through the Silver Screen
© Paramount Pictures, Skydance Media and Bruckheimer Films

Top Gun: Maverick – Film Review

Cast: Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Lewis Pullman, Ed Harris, Val Kilmer, Monica Barbaro, Charles Parnell, Jay Ellis, Danny Ramirez, Greg Tarzan Davis

Directors: Joseph Kosinski

Synopsis: After decades of service in the US Navy, Captain Pete “Maverick” Mitchell is called back to train some new recruits for a dangerous new mission…

Review: What more is there to be said about Tom Cruise? For over four decades, here’s an actor who has poured his heart and soul into his projects, pulling off death-defying stunts, all to provide the audience with thrilling entertainment, which has cemented his reputation as one of the best action movie stars of his generation. While his most jaw-dropping stunt work has come in the Mission: Impossible franchise, arguably the first of the many iconic roles that he’s provided audiences with over the years was the cocky US Navy Pilot in Top Gun.  Now, somewhat much later than planned due to numerous delayed release dates, Cruise is taking audiences back to the skies once more, for an utterly enthralling sequel that will please long-time fans of the original and new fans alike.

After more than three decades of service in the US Navy, Captain Pete “Maverick” Mitchell is right where he wants to be, serving as one of the most skilled pilots whilst continuously avoiding the calling of a higher rank that would prevent him from taking flight ever again. However, upon the request of Tom “Iceman” Kazinsky (Kilmer), he’s called back to Top Gun to lead the training of a batch of new recruits, billed as the best that the Navy has to offer, for a highly perilous mission that will test their skills as pilots to the limit. However, whilst training these new recruits, Maverick must contend with the fact that one of the new recruits is Bradley “Rooster” Bradshaw (Teller), the son of his late best friend Goose, who died whilst flying with Maverick.

To reprise a role after over 30 years can be a risk, as it can so often be one of two things. It can either tell a story that is worth telling, or it could (especially given Hollywood’s love for using nostalgia) be used as a mere excuse to print money at the box office. While this sequel does walk the line between being nothing more than a nostalgia trip for fans of the original, it does earn its place as a more than worthy sequel. However, while the script by Ehren Kruger, Eric Warren Singer and Christopher McQuarrie certainly weaves some of that nostalgia into the story by immediately blasting Kenny Loggins’s opening song in the opening credits, it is also a story that packs plenty of emotional weight, especially where Maverick, and where he is at this moment in his life, is concerned.

Cruise, as he so often is, is effortlessly watchable. He exudes the swagger, charisma and cockiness that made him such made Maverick such an instantaneous icon of 80s action cinema. However, through all that charisma and extraordinary skill to fly a fighter plane, there’s an overriding sense of guilt that despite being cleared of any blame for the death of Goose, Maverick still feels responsible for what happened. It is a responsibility that he is forced to confront when Goose’s son Rooster becomes one of his pupils. While Maverick has to balance his desire to be the father figure for Rooster that he never had and his teacher, Rooster continues to harbour resentment for Maverick’s part in his father’s death. The dynamic between the two creates an emotional arc that drives the story forward, whilst allowing Teller to remind us of what a talented actor he is with an extremely impactful performance.

For the majority of the new recruits, while they are all charismatic presences, any attempt at a backstory or character development for any of them, apart from Rooster, is minimal at best. This also goes for much of the rest of the new cast. There is an extremely emotional moment between Maverick and Val Kilmer’s Iceman. Jon Hamm shines with what little screen time he has as a Vice Admiral who would love nothing more than to ground Maverick for good. For Maverick’s love interest, there’s no mention of Kelly McGillis’s Charlotte. Instead, she is replaced by Jennifer Connolly’s Penny, a past flame of Maverick’s whose only purpose is to give him the motivation to ensure he makes it back home.

Re-teaming with Joseph Kosinski, who helmed Tron Legacy and Oblivion with Cruise, it’s not overstating it to say that these aerial action scenes are some of the most exhilarating action scenes that have ever been put to film. It is estimated that a whopping 800 hours worth of footage inside real-life planes was shot, enough time to watch the extended editions of the Lord of the Rings trilogy approximately 70 times over! It is an extraordinary herculean endeavour from all of the crew, from Kosinski’s immaculate direction to the terrific sound work, it puts the audience in the cockpit of these planes like they are in the cockpit with these incredibly skilled pilots as they train for the toughest mission of their naval careers.  When it comes time for the mission during the all-important third act, the tension is dialled to the maximum and never lets up for the rest of the film. After all those delays due to the pandemic, Top Gun: Maverick earns its wings by becoming a rare sequel that surpasses its predecessor in just about every single way.

A spectacular combination of pulsating spectacle, combined with a grounded and emotional story that pulls on the heartstrings, ensures that this is a sequel that passes with flying colours and will truly take your breath away. 

Posted in 2020-2029, Film Review

Everything Everywhere All At Once (2022)

Posted on by Martin: Through the Silver Screen
© A24

Everything Everywhere All At Once – Film Review

Cast: Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jenny Slate, Harry Shum Jr., James Hong, Jamie Lee Curtis

Directors: Daniel Kwan and Dan Scheinert

Synopsis: Staring at the looming possibility of her business being forcibly closed down and amid rocky relationships with her family, a woman discovers she has the ability to travel through the multiverse…

Review: Humanity has long had a fascination with the concept of the multiverse, which has often found its way into the media that we consume. Most notably with science fiction and the realm of superhero movies, particularly the Marvel Cinematic Universe. It does make you wonder, what if there was an alternative version of you living in a universe in conjunction with this mad world we find ourselves living in? How would their life be different from the one you currently have and how different their world would be compared to ours? The answers to those questions, and so much more, can be found in one of the best explorations of this concept that’s ever been put to film.

Evelyn (Yeoh) is a Chinese-American woman who owns a laundromat whilst living in a tiny cramped flat above the laundromat with her husband Waymond (Quan). Her business is currently under audit by the IRS and Evelyn is up to her eyeballs in paperwork to sift through. To make matters worse, she’s presently enduring some troubled relationships with her family. Her marriage is teetering on the brink of divorce, her ailing father (Hong) is coming to visit and her relationship with her daughter Joy (Hsu) is breaking down to potentially the point of no return. Everything comes to a head when Evelyn realises, whilst in a crucial meeting with the IRS, that she has the power to travel through the multiverse. She’s able to see the various different lives she could have led, and as it turns out, is humanity’s last hope as a grave threat threatens to destroy not just her universe, but every single universe in existence.

If you have seen the previous film from Daniel Kwan and Dan Scheinert, collectively known as Daniels, where a farting corpse discovers the meaning of life and friendship, you know to expect the unexpected. But even with that caveat, nothing can truly quite prepare the audience for the breathtaking film that they are about to experience. Effortlessly combining multiversal travel, with flawlessly executed kung-fu inspired action scenes, absurd moments of brilliant comedy and a very sincere heartfelt story sounds like an impossible job for one film to accomplish. It would be very easy for any film dealing with multiverses to get lost in the madness and for things to spiral hopelessly out of control to the point where it’s nought but an incoherent mess that has scrambled your brain. Fortunately, Daniels’ screenplay is extremely airtight. The imagination to have come up with such a brilliantly realised story is beyond impressive. However, to go into much more detail and to give away some of the hilarious jokes and gags would be a disservice to the genius of Daniels’ brilliantly bonkers vision.

Michelle Yeoh has always been a very prominent figure across a plethora of Hollywood movies, from her memorable turns as a Bond lady in Tomorrow Never Dies to her scene-stealing work in Crazy Rich Asians, but it’s usually been from a supporting perspective. So, to see her given her first leading role in a Hollywood film is so immensely satisfying, because it is what an actor of her immense talent truly deserves. Yeoh throws everything she has into this role, doing all of her own stunts, and in turn, gives the many different lives of Evelyn that we see on screen so much depth. She demonstrates just why she’s such a revered actor and Yeoh gives the performance of her career. While the film belongs to Yeoh, the work of the supporting cast must not be discounted.

Having had a very small role in last year’s Shang-Chi, Stephanie Hsu gets her chance to shine as Evelyn’s disgruntled daughter Joy and she seizes that opportunity with both hands. There is so much depth and nuance to Joy and the relationship between Joy and her mother. Ke Huy Quan, who shot to fame with his early performances in Indiana Jones and the Temple of Doom and The Goonies had been away from the acting game for a while, so it is fantastic to see him return and give such a brilliant performance as Evelyn’s goofy husband Waymond. The icing on the cake is Jamie Lee Curtis’s hilarious turn as the grumpy IRS agent who’s leading the audit into Evelyn’s business.

Regardless of the medium, an exploration of the multiverse offers filmmakers/showrunners so many possibilities. However, the film doesn’t lose sight of its core story about the importance of family and finding one’s place in the world. It gives the audience that and an enthralling ride along the way that they are unlikely to forget any time soon. Films like Everything Everywhere All At Once don’t come around too often, but when they do, they demand to be celebrated and cherished. For as long as the cinematic art form exists, films like this one are a powerful reminder of the wonder that this medium can accomplish.

Taking a plethora of genres and throwing them all into one film could have very easily backfired. However, with a career-best performance from Michelle Yeoh, this cinematic masterpiece fully lives up to its title by being hilarious, exhilarating and heartfelt all at once.

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Posted in 2020-2029, Film Review

The Northman (2022)

Posted on by Martin: Through the Silver Screen
© Universal Pictures, Regency Enterprises and Perfect World Pictures

The Northman  – Film Review

Cast: Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, Willem Dafoe

Director: Robert Eggers

Synopsis: A Viking Prince swears brutal revenge after witnessing his father’s death at the hands of his traitorous uncle…

Review: Over the last few years, there have been several up-and-coming directors who have made a significant impact with their careers, establishing their reputations as sought after talent, with every film they make becoming event-worthy. One such director would be Robert Eggers. His first two films, The Witch and The Lighthouse, with a combined budget of $15million, became indie darlings that were both released to critical acclaim. With that success to his name, it has given Eggers the platform to go all out, backed by a studio’s considerably larger budget (between $70 and 90 million), and make his biggest and most visually striking film to date.

Prince Amleth is a happy young Viking boy living with his father King Aurvandill (Ethan Hawke) and his mother, Queen Gudrún (Nicole Kidman). Aurvandill is aware that the time will come for Amleth to one day assume the responsibilities of King in his stead. However, before Aurvandill can properly prepare him for his role as King, Auravandill is betrayed and murdered by his brother Fjölnir (Claes Bang). Faced with the prospect of certain death at his uncle’s hands, Amleth is forced to flee but vows brutal revenge against his Uncle for his crimes. Several decades later, the now-adult Amleth (Skarsgård) has transformed into a fierce and brutal Viking warrior. Having lost sight of his original mission for vengeance, a chance meeting with a seeress (a brilliant cameo by Icelandic singer Björk), reminds him of the promise he made to himself all those years ago.

Welcome to the Viking gun show…

Based on the legend of Amleth, which served as the inspiration for the character of Hamlet in the famous play by Shakespeare, Eggers and the Icelandic poet and novelist Sjón, have crafted a screenplay that is so steeped in the richness of Norse mythology, that there probably could be a whole short film devoted to the extensive research that undoubtedly went into the making of the film. While it is first and foremost a tale of one man’s mission for revenge, Eggers takes a lot of time in the first act to establish the culture and the mythology that was central to the civilisation at the time, while simultaneously incorporating the visually striking aesthetics he’s renowned for.  By taking his time to explore the complexities of Norse mythology, Eggers is able to immerse his audiences with scenes of wild rituals, songs and spells and sacrifices. While it is true that at its heart, the plot is very much one man’s quest for bloody revenge against the man who committed a terrible atrocity against him many years ago. However, that does the plot a disservice, as there’s so much more meat on the bones to this story.

Such a physical and brutal film requires a committed leading performance, and in Alexander Skarsgård’s leading turn as Amleth, you have that and then some. His physical transformation for this role is extremely impressive, practically at times having transformed himself into a terrifying feral creature that’s more animal than man. He’s an absolute behemoth of a warrior that you would categorically not want to find yourself in battle with. While his physical prowess cannot be denied, there’s unfortunately not a lot of room for character development, beyond his desire for revenge. The character of Fjölnir could have been a very cliched villain who commits an act of betrayal against his family out of jealousy towards his brother. But as a terrifying and ruthless antagonist, Claes Bang imbues him with nuances and motivations that flesh him out.

Re-teaming with Eggers, after The Witch, Anya Taylor-Joy’s Olga is perhaps the character who is given the most development as the sorceress Olga. A witch who’s resourceful and with a cunning intellect, she works closely with Amleth to help him achieve his goal. A further reunion comes in the form of Willem Dafoe, who is clearly having a riot in his small but significant role of Helmir the Fool. Given she’s reduced to a cameo appearance in the first two acts, you’d have been forgiven for forgetting Kidman was even in the film at all. However, this all dramatically changes as she really stamps her authority onto the scene during the climactic third act.

As this is a tale about vengeance, some violence was inevitable, but this time around, Eggers holds nothing back. The violence is uncompromisingly brutal that will test even the strongest of stomachs. The thrum of the booming drums that make up a considerable chunk of the score is the perfect complement to the sweeping visual majesty of the rip-roaring spectacle. Even with one or two pacing issues in and around the middle, it’s not enough to drag down the sheer epicness of what Eggers brings to this tale. Into the halls of Valhalla, we go!

Bloody, ferocious and wildly entertaining, with an exceptional cast and an extraordinarily committed leading performance from Skarsgård, an ascension into the halls of the greatest revenge films of all time awaits.

Posted in 2020-2029, Film Review

The Gentlemen (2020)

Posted on by Martin: Through the Silver Screen
Image is property of Miramax

The Gentleman – Film Review

Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant

Director: Guy Ritchie

Synopsis: When word gets out that the head of profitable drugs empire plans to take a step back from his business, the bids to assume control of the business between the various interested parties threatens to boil over…

Review: Whenever you think of certain directors, you’re likely to associate them with certain genres. So for example, when the name Guy Ritchie is mentioned, the classic British gangster flicks, or Sherlock Holmes, may come to mind. When he hopped on Disney’s magic carpet for the live action remake of Aladdin, it seemed to be an unlikely match. Undeniably a profitable venture for both Ritchie and the House of Mouse, yet the end product was considerably uninspiring. Hence, it’s little surprise that Ritchie has gone back to what he knows best, and all the better for it, as his latest film is one that feels very much cut from the same cloth as his classic Gangster flicks.

Micky Pearson (McConaughey) is the founder of a marijuana business that he established in his university days. Having turned it into a very lucrative venture over many years, with Raymond (Hunnam) as his assistant, he has made a decision to cash in and sell as he desires to spend more time with his wife Ros (Dockery). Yet, before he can sign off on a very profitable deal, a number of pesky, scheming individuals are lurking and plotting to take control of the business for themselves. These conniving individuals include the slimy billionaire Matthew (Strong), ruthless gangster boss Dry Eye (Golding), and the wily and deceptive private investigator Fletcher (Grant).

It goes without saying that the key players of a crime/gangster flick are probably not going to be the nicest of people, which would be problematic if they were not compelling characters. Fortunately, with this pitch perfect cast that Ritchie has assembled, there’s not a bad performance to be found. McConaughey is his usual charming and charismatic self, but for a man of his position, a dark and menacing side lays beneath his suave demeanour. Henry Golding has so often portrayed charming gentleman-esque characters. Hence to see him flip that that perception of him on its head and portray a cold and calculating gangster is delightful to see, and he does it brilliantly. Through all of this though, it’s Hugh Grant’s gleefully enthusiastic performance as the dastardly Fletcher, who steals the entire film. He presents himself as a charming geezer, but underneath that charade, there’s something quite mischievous about his character.

In a rather ingenious move by Ritchie, he uses Fletcher to establish the key players, and the events that have led up to the events of the film. Fletcher’s mischievous tendencies mean that you take his narration with a huge pinch of salt. All is almost certainly not what it seems as he narrates the state of play. With all the numerous schemes and plots that are all happening simultaneously, the film can be a little hard to follow. Yet, it crucially never loses its sense of intrigue, and as Ritchie connects all the dots, it’s nothing short of delightfully entertaining. Ritchie combines this sense of intrigue with some excellent lines of dialogue, and no shortage of violent action scenes.

The abundance of extremely politically incorrect language that’s littered throughout the film may turn off some viewers. Furthermore, the film really squanders the potential that Michelle Dockery’s Ros offered. She could have been a very interesting character to explore, but her development is threadbare and she’s not given enough screen time to significantly develop her character or her relationship with her husband. In spite of that, Ritchie has put the disappointment of his Disney venture behind him, and shown the when he is the one who makes the rules, it can be a blast from start to finish. The Guv’nor of the British gangster flicks is back to rule, and let’s hope he’s here to stay.

Bursting with exciting action and a charismatic array of characters, The Gentlemen marks a much needed return to form for Guy Ritchie.