2020-2029, Film Review

House of Gucci (2021)

Posted on December 11, 2021January 1, 2022 by Martin: Through the Silver Screen

**© MGM, Bron Creative and Scott Free Productions**

House of Gucci – Film Review

Cast: Lady Gaga, Adam Driver, Jared Leto, Al Pacino, Jeremy Irons, Salma Hayek

Director: Ridley Scott

Synopsis: Telling the true story of the family behind the iconic fashion brand, and their bitter power struggle as to who will have control over the company…

Review: When it comes to the world of fashion, there are several names that immediately leap to mind that everyone will know as the most iconic names in fashion. Names such as Louis Vuitton, Prada, Chanel, Versace, and Fendi to name but a few. When it comes to these fashion houses, there’s likely to be a fascinating backstory as to how they came to be the iconic labels that they are today. This is most certainly applicable to that of the brand Gucci, which as of 2021, is estimated to be worth around $15billion dollars. With his second film of the year, Ridley Scott tackles that fascinating backstory of the Gucci brand, and the family behind the business, with decidedly mixed results.

Patrizia Reggiani (Gaga), who works for her father’s business, meets Maurizio (Driver) at a party. As they strike up a conversation and get to know each other, their romance blossoms. However, it isn’t until Patrizia learns about Maurizio’s status as the heir to one of the biggest names in fashion, that changes everything. Maurizio and Patrizia marry but Maurizio’s father Rodolfo (Irons) doesn’t take kindly to Patrizia, as he deduces that Patrizia doesn’t love Maurizio for who he is as a person, but is solely after Maurizio’s money. But Maurizio’s uncle Aldo (Pacino) welcomes Patrizia into the family and takes them under his wing. As Patrizia’s influence grows, a bitter power struggle ensues as to who will ultimately take control of the brand, which will have dire consequences.

Adapted from the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour and Greed, by Sara Gay Forden, the title gives you an accurate indication of the shenanigans that are about to go down. A film that depicts all of the above, in the hands of a director with the calibre and experience of Ridley Scott had so much potential. Factor in an extremely talented cast, filled with Oscar nominees and winners, and yet the film falls well short of living up to that potential. As Patrizia and Maurizio meet and fall in love, it starts off fairly strongly, as the chemistry between Lady Gaga and Driver sizzles. Following on from her breakout performance in A Star Is Born, this role gives Gaga a chance to really flex her acting chops. To her credit, she easily gives the best performance in the whole film, which is no mean feat given the calibre of the actors around her.

As she marries Maurizio, she begins to exert her influence over the Gucci brand, whilst making moves to consolidate her power and influence on the Gucci brand. The film could (and perhaps should given the director) have soared from here, but instead, it is where the film really loses its way and never recovers. With all the scheming and backstabbing that goes on as individuals duel for controlling stake in the Gucci brand, like a Game of Thrones-style thriller, but instead of swords, dragons, and a battle for a throne, you have a battle for who will gain control over billions of dollars and dominion of high-end fashion. These moments have the odd spark that provides some entertainment, but they are not nearly enough to sustain the film’s two-and-a-half-hour runtime.

The screenplay from Becky Johnston and Roberto Bentivegna seems to be two films that have been mixed into one. It flirts between wanting to be that serious crime drama and a much less serious film, with the camp factor dialled up to the maximum. This is an opportune moment to mention the enigma that is Jared Leto. Unrecognisable under a substantial amount of make-up as Paolo Gucci, his performance is mystifying, to say the least. With an accent that is so over-the-top and exaggerated, you’d be forgiven for thinking he was auditioning for a role in a new Mario video game. These moments of campy soap opera-like drama, and all of their over-the-topness are so out of place here, they undercut the very serious crime drama that the film could and probably should have focused on. While Leto is by far and away, the worst offender with the accents, the rest of the cast are not much better. The poor accents are also not helpful when trying to convey the serious nature of the crime drama that that aspect of the film is trying to tell.

The nature of this story is such ripe material for a compelling piece of storytelling. Even though parts of the film dragged on, given the timescale of the story, a mini-series could have been the better avenue to bring this story to audiences. Ridley Scott’s status as a legend of Hollywood is assured, but having said that even with a director of Scott’s experience, the complete mismatch of tones is a baffling style choice and one that ultimately sinks the film. Consistency when it comes to his directorial output has been a recurring problem for Scott. In a year when the veteran director has provided audiences with an extremely compelling and timely drama, it is disappointing that he couldn’t have made it two for two.

With no expense spared for the production design or costumes, Lady Gaga gives it everything she has as Patrizia Reggiani. However, the tonal mismatch of the story, and some of the acting, proves to be the film’s undoing. Style over substance, quite literally.

2020-2029, Film Review

The Gentlemen (2020)

Posted on October 4, 2020October 4, 2020 by Martin: Through the Silver Screen

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.

2020-2029, Film Review

Queen & Slim (2020)

Posted on March 1, 2020March 2, 2020 by Martin: Through the Silver Screen

**Image is property of Universal, Makeready and eOne Entertainment**

Queen & Slim – Film Review

Cast: Daniel Kaluuya, Jodie Turner-Smith, Bokeem Woodbine, Chloë Sevigny, Flea, Sturgill Simpson, Indya Moore

Director: Melina Matsoukas

Synopsis: A young couple’s first date takes a considerably unexpected turn after being pulled over by the police…

Review: It’s hard to look past the inescapable fact that the United States has had, and continues to have, a major issue with racism. Similarly, It’s also an inescapable fact that endless number of stories that emerge of police officers who will be instantaneously overly aggressive/hostile in the most minor of situations, especially towards people of colour. Given that incidents such as these have caused innocent black people to lose their lives, it’s ripe for a filmmaker to use these injustices as an inspiration for a thought-provoking, powerful statement.

A young couple that we initially only know as Queen (Turner-Smith) and Slim (Kaluuya) are on their way home after a first date. After being pulled over by police for a supposed infraction, it doesn’t take long for the officer to get aggressive towards them. After pulling his gun following a tense exchange, it has disastrous consequences as he is shot dead by Slim in self-defence. As the police launch a manhunt and arrest warrants for the pair, knowing that they face a very severe punishment if they’re caught, the two of them have no choice but to go on the run and flee for their lives.

As the pair of tragic lovers at the centre of this, Daniel Kaluuya and Jodie Turner-Smith both give layered, terrific performances. Kaluuya, following his Oscar nomination a few years ago, continues his hot streak with as he produces another sublime performance. Similarly, after a few bit part roles in a few films, this is Turner-Smith’s moment in the spotlight and she grabs it with both hands. Given that they’re initially on a first date, their chemistry isn’t exactly strong at first. However, as their journey goes on, you can feel these two grow closer together. Furthermore, if their characters not compelling on-screen presences, the film would run out of steam pretty quickly. However, they carry the film on their shoulders magnificently.

Matsoukas, having been quite prolific directing music videos, makes her feature film debut with real aplomb. She brings a bold vision to the film, that’s aided by some gorgeous cinematography. Whilst visually stunning, she imbues it with grittiness and realism, given that the events depicted feel very grounded in a 21st century America. However, the Achilles heel of the film is the script. Penned by Lena Waithe, while the film weaves important social themes into its script, it does suffer from pacing issues in a couple of places. There’s one intense scene in particular that puts the struggles that Queen and Slim, face into a much wider, and important context. Yet the decision made to pitch this side by side, with another scene that feels like a complete tonal mismatch, that adversely affects the pacing.

It would be easy for a film with subject matter like this to just rely on its timely, and urgent, social commentary. While that by itself is not enough to carry the film on its own, it simply doesn’t rely on these to tell its compelling story. Furthermore, the growing anger towards the treatment of African Americans at the hands of the police, that has fuelled movements such as Black Lives Matter gives the film some significant emotional significance. It’s powerful, for the simple reason that this is, inexcusably, an event that is all too common in modern day America.

Fuelled by extremely compelling lead performances, combined with powerful and relevant social commentary. Queen & Slim is tragic love story that is unequivocally unafraid to pull any punches.

2010-2019, Film Review, London Film Festival 2019

The Irishman (2019)

Posted on October 25, 2019October 25, 2019 by Martin: Through the Silver Screen

The Irishman – Film Review

Cast: Robert De Niro, Joe Pesci, Al Pacino, Ray Romano, Anna Paquin, Stephen Graham, Jesse Plemons, Harvey Keitel

Director: Martin Scorsese

Synopsis: An account of the life of Frank Sheeran, charting how he rose through the ranks of the mob, eventually arriving at the top where he meets the charismatic Jimmy Hoffa, and the circumstances that surrounded Hoffa’s disappearance…

Review: There’s no two ways about it, Martin Scorsese is the Godfather of gangster movies. With six of them to his name, the ones he has made rank as some of the very best films of this genre. They sit alongside the many incredible films that he has made throughout his long and illustrious career as a director. Though with his latest gangster epic, one of the most expensive Netflix productions to date, he has incredibly managed to surpass himself, by making one of the best crime/gangster films of the decade.

Spanning multiple decades, the film is told from the perspective of Frank Sheeran (De Niro). It begins with a flashback look at his early life, and how as a young man how he went from a soldier to becoming a hitman for the mob. Eventually, as he rises up the ranks gradually becoming more powerful and gaining more influence in the higher echelons, he meets and becomes close with the charismatic Union Leader Jimmy Hoffa (Pacino). Whilst simultaneously exploring how Frank became entwined in the circumstances that surrounded Hoffa’s disappearance.

It should come as no surprise given the stature of the three leading men, and the four Oscars between them, that each and every one of them give powerhouse performances. Marking his ninth collaboration with Scorsese, Robert De Niro gives his best performance in a long time as Frank Sheeran. He’s far from a good guy, yet with an actor of De Niro’s immense charisma, there are sympathetic elements to Sheeran’s character. Though he might have retired from acting in the late 1990s, Scorsese reunites with Joe Pesci, to wonderful effect as crime boss Russell Buffalino. Though, it is Al Pacino’s magnificent, arguably career best turn as Jimmy Hoffa that deserves the most plaudits. In a film with his fellow masters such as De Niro and Pesci, he steals the spotlight from just about every one of them.

With the three leading men, all on outstanding form, there’s an excellent group of supporting characters to give them capable support. Stephen Graham’s mobster underling, who is definitely not afraid to offer a piece of his mind during meetings. Likewise for Ray Romano’s hilarious turn as a Buffalino family lawyer. On the other hand, there are a number of supporting characters who are criminally underutlised. The is best exemplified by Anna Paquin, as one of Sheeran’s daughters, especially as there was scope to explore her character in considerably more detail.

Coming in at just under three and a half hours, there’s extra pressure for a film of that length to hold the audience’s attention and justify that run-time. With his trusted editor Thelma Schoonmaker once again by his side, she ensures that the film is riveting enough to hold the audience’s attention. Though it’s necessary to help set the latter parts of the film, the first act of the film does take its time to get into its stride. Though, once the years have gone by and the endgame gradually comes into view, the thrills never let up once we arrive at the second and, especially the third act. Given that this is the shady underworld of the mob, violence is almost certainly commonplace. However for the purposes of the story, Scorsese deploys a clever technique to let the audience know of the fate that befell some of these characters. Instead he utilises the on-screen violence sporadically, for maximum impact.

Given the large amount of time that’s covered, the passage of time is illustrated through an excellent combination of hair and make up, and the de-aging technology that has been popularised by the likes of the of the Marvel Cinematic Universe. Though there’s one scene where it looks a bit iffy, it’s well done and effective to tell the ambitious nature of the story. For all those who may write off Netflix and its eligibility for the big prizes during award seasons, one thing is for sure, is that they aren’t afraid to spend the big money on their productions. Furthermore, when you’re bankrolling a high calibre director like Scorsese, you simply can’t put a price when it comes to telling riveting cinema, featuring stories that absolutely deserve to be seen on the largest screen possible.

With three impeccable leading performances at its core, under the masterful vision of the Godfather of the Gangster movie, The Irishman is an ambitious, enthralling, and poignant triumph for a legendary filmmaker still at the top of his game.

2010-2019, Film Review, London Film Festival 2019

Knives Out (2019)

Posted on October 13, 2019October 21, 2019 by Martin: Through the Silver Screen

**Image is property of Lionsgate and Media Rights Capital**

Knives Out – Film Review

Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Christopher Plummer

Director: Rian Johnson

Synopsis: After a family patriarch dies in mysterious circumstances, a highly renowned private investigator is hired to lead the police inquiry…

Review: After making one of the most polarising blockbusters of all time in The Last Jedi, Rian Johnson would have been forgiven for taking a break from film-making, given the fierce, at times toxic, reaction that his Star Wars film generated. Yet, Johnson was having none of that and has wasted no time getting back into the game. After conceiving the idea of a murder mystery following the release of Looper, he takes obvious inspiration from the likes of Agatha Christie to give his own unique take on the “Whodunnit” genre, with extremely enthralling results.

As with all entertainment that centres on a murder mystery, it pays to know as little as possible about any plot details before diving head first into the madness. Therefore, vagueness is the name of the game from this point onwards. As he celebrates his 85th birthday party with his family, a family patriarch dies. Sensing something suspicious about the circumstances of the death, an official investigation is opened. As the tagline reads: “Hell, any of them could have done it.” As such, with everyone who attended the party a suspect, the detectives must interview the family members, and use those “little grey cells” in a bid to piece together the clues and to try and crack the case.

**The most attractive group of suspects you’ll maybe ever see…**

With such a stacked, A-list, ensemble cast, to give everyone their moment to shine would be extremely difficult. However, with a sharp and brilliantly witty script, Johnson does exactly that, and it enables him to get excellent performances out of everyone. Every member of this family is given fascinating, fleshed out back stories, which enables the audience to try and establish their potential motivations. Though, like all great murder mysteries, the audience is kept on their toes. Though, to go into too much detail about who gives the best performances is running the risk of getting into spoiler territory. With that in mind, let’s just say that, apart from Daniel Craig’s brilliant turn as the lead detective channelling his inner Poirot (if Poirot ever became a gruff Southern sleuth), the characters who wind up being at the centre of this investigation, are the best of a truly outstanding bunch.

There’s some ingenious subtext to the story that could have been a massive turn-off. However, it’s written so cleverly into the plot that makes it relevant and extremely entertaining. With every line of dialogue, Johnson’s passion for the genre comes across effortlessly, and he proves that he is a master of his craft. There’s also the distinct possibility that with some of the lines that these characters spit venomously at each other, that it’s Johnson’s subtle way of firing back, following the vitriol that was aimed in his direction following his Star Wars venture. For a film that centres on a murder investigation, it seems absurd that there’d be so many hilarious moments throughout. They are plentiful and they never feel out of place as the jokes keep the plot moving along at such a thrilling, kinetic pace. It ensures that not a single moment of the film’s run-time is wasted.

Bolstered by some immaculate, very colourful production design, this was the perfect film for Johnson to “bounce back” from the endless mire of the The Last Jedi backlash. It proves, if it were somehow ever in doubt that, Johnson’s mastery of the craft remains intact, and that he’s at the very top of his game as a writer and a director. Furthermore, it’s evident from every frame, that the cast are having a blast with this script, and there’s a good chance that this feeling will be reciprocal for the audience. It will make them want to grab their deerstalker hat and magnifying glass, and strive to solve the riddle at the centre of this enthralling mystery.

A razor sharp, ingenious screenplay, backed by an impeccable ensemble cast ensures that Johnson’s modern update on the Whodunnit genre is an audacious, riveting spectacle.

2010-2019, Film Review

Hustlers (2019)

Posted on September 19, 2019September 19, 2019 by Martin: Through the Silver Screen

Image is property of STX Films and Gloria Sanchez Productions

Hustlers – Film Review

Cast: Constance Wu, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo

Director: Lorene Scafaria

Synopsis: When business at their strip club starts to diminish, a group of the club’s employees devise a scheme to turn the tables on the wealthy clientele that frequent their establishment…

Review: In the wake of the #MeToo movement that shook Hollywood to its core, it seems timely, one could argue even necessary, for more films to be made that feature women front and centre. Films that feature women in empowering situations, not being beholden to any men, and firmly in control of their own destinies. Furthermore, for a film that features women in a line of work that a debate could rage all day and all night about whether said line of work is objectification, or empowerment. In this case, it is absolutely, unequivocally the latter.

Destiny (Wu) is a young woman, who with people she needs to take care of, finds herself struggling to earn a decent living whilst working in a strip club. This is until she meets the confident Ramona (Lopez), who soon takes Destiny under her wing. Under Ramona’s tutelage, Destiny learns how to make more money for herself while she’s on the job. Things start off well, but when the establishment’s customers (and by consequence the money) start to diminish, these women take matters into their own hands to make their living and provide for those they care about. In doing so, they may just manipulate some wealthy individuals along the way.

Right from the very first moment she’s introduced, you know straight away that Ramona is Queen Bee (no, not that one) of this establishment, and our central group of women. Lopez possesses such a commanding on screen presence, and it helps her to own every minute of screen time that she has, delivering arguably her best ever performance. Destiny is at first a little unsure of herself but under Ramona’s tutelage she absolutely comes into her own Ramona, and Constance Wu turns in a solid performance. Though other ladies (Keke Palmer and Lili Reinhart) become part of the titular hustle, the film’s focus is squarely on Ramona and Destiny, and the sweet and sincere friendship that they have. Their chemistry is the glue that binds the whole film together.

Lorene Scafaria’s direction is confident and assured. Given the profession of these women, a choice could definitely have been made under a different to director to overly sexualise them. Thankfully, Scafaria is having none of that, simply because such a decision would be completely unnecessary. She chooses to structure the film with various cuts back and forth between the events of the hustle, and a journalist (Stiles) who’s interviewing the key players for an article that she’s writing about the hustle. While this choice could hamper the film’s flow, the screenplay is sharp and stylish enough to ensure, and the excellent editing ensures that the sharp pace of the film never waivers. The first half of the film takes its time, as it is the calm before the storm, of the hustle. Whereas the second half is relentlessly exciting as the events of the hustle play out, as well as the immediate aftermath.

The film doesn’t exactly paint these women as heroes, because what they are doing is, simply put, not legal. On the other hand, it refuses to completely vilify them. It makes you see where they are coming from and why they are targeting these well-off clients. Quite a few humorous moments are interjected throughout, mainly courtesy of Lili Reinhart’s Annabelle. However, though there may be upsides, it’s not going to be all fun, and games and shopping sprees. There will also likely be drama, and above all, there will be consequences, for the hustlers, and for the people caught up in it all.

With a career best performance from Lopez, and a sharp as a stiletto screenplay, Hustlers combines a gripping and dramatic story, whilst celebrating female empowerment in a respectful manner.

2010-2019, Film Review

Can You Ever Forgive Me? (2019)

Posted on February 14, 2019February 14, 2019 by Martin: Through the Silver Screen

**Image is property of Fox Searchlight**

Can You Ever Forgive Me? – Film Review

Cast: Melissa McCarthy, Richard E Grant

Director: Marielle Heller

Synopsis: When biographer Lee Israel’s (McCarthy) work dries up, she discovers some personal documents and manages to make an extortionate amount of money by forging these documents…

Review: For certain actors, they can be well known for a certain type of role that they tend to play quite a lot, they run a risk of getting typecast in that particular role. Yet, every so often an actor breaks that typecast. This is certainly applicable for Melissa McCarthy, who has so often played roles of a similar ilk to her vulgar but extremely hilarious turn in Bridesmaids. Yet, for this considerably more dramatic role, it’s quite the transformative change for her, and it might just be the best performance of her career.

It is 1991 and Lee Israel’s life and career has hit a dead end, having found herself out of a job and new opportunities are becoming increasingly very hard to come by. Furthermore, she has very few acquaintances to share her life with. It is all rather gloomy until, quite by chance, she finds some unique personal artefacts of celebrities that she forges to her advantage. In doing this, she earns a substantial amount of money, and through these acts of forgery, she runs across fellow outcast Jack Hock (Grant), who aids her in these acts of deception.

Though she comes off as quite the unlikable person, McCarthy is truly excellent in her performance. From the moment we first meet her, it is clear that she is difficult to work with and other people do not like her. These feelings are evidently reciprocal, as Lee clearly prefers the company of animals to people. The screenplay by Nicole Holofcener and Jeff Whitty, adapted from Israel’s own memoir, goes about exploring how Lee intricately created her forgeries in an exciting fashion, whilst at the same time balancing that with Lee trying to build some sort of social connections with a select few people.

One of those few is Richard E Grant’s Jack Hock, who is something of an outcast himself and a recluse like Lee herself, similarly, he’s also a bit of an arsehole and not exactly the most pleasant man, but Grant is uproariously entertaining in this role. There is something heart-warming about watching these two connect despite their mutual difficulties of connecting with people, build a relationship and accomplish these naughty deeds, whilst having a tipple or two in their downtime. However, director Marielle Heller doesn’t shy away from the fact that what Lee is doing is a crime. Which, as various people begin to suspect that they have been deceived, the tension begins to grow as the authorities get involved.

Though the film does suffer from a few pacing issues, there is something about the story of Lee Israel that will be pertinent for that anyone who writes for a living, and equally so for those who dream of writing for a living. Equally so, if anyone has been an outsider, or has experienced difficulties in connecting with people, the struggles that people experience in those sorts of situations can undoubtedly take a heavy toll. And whenever people find themselves in those dark times, it can make people do things that they regret, or in Lee Israel’s case, do things and have the time of your life while doing so.

Simultaneously funny and tragic, Can You Ever Forgive Me? is a poignant but fascinating study of one woman’s descent into deception, whilst getting arguably career best performances from both McCarthy and Grant.

2010-2019, Film Review

Widows (2018)

Posted on November 16, 2018November 16, 2018 by Martin: Through the Silver Screen

Image is property of 20th Century Fox, Film4 Productions and Regency

Widows – Film Review

Cast: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Carrie Coon, Robert Duvall, Jon Bernthal, Liam Neeson

Director: Steve McQueen

Synopsis: After a bank heist goes horribly wrong leading to the deaths of all the crew, their widows step up to finish what their husbands started…

Review: When as a director, you make one of the most heart-wrenching but extremely impactful pieces of cinema to come out in this decade. A film that landed you the Best Picture Oscar no less, how do you follow that up? For Steve McQueen, following on from his success with the aforementioned 12 Years A Slave, the answer is simple. You team up with another recent Oscar winner and make another exhilarating, heart-pounding piece of cinema. Namely a heist film quite unlike anything the genre has concocted before.

After a team of criminals are caught up in a heist that gets all of them killed, their widows are left in a very desperate situation. Veronica Rawlings (Davis) is the widow of the leader of the crew, Harry (Neeson). Not long after her husband’s death, she receives a rather uncomfortable visit from crime boss Jamal Manning, (Brian Tyree Henry) the target of the botched heist. Demanding repayment of the stolen money, and given a rather tight window in order to do so, Veronica has the plans for what would have been her husband’s next job. Needing her own crew to pull it off, recruits the other widows who also lost their husbands in the same heist, for a new mission to score the money that their husbands stole. Conceptually, though this may sound like your average heist film, in execution, it is a very different beast.

The screenplay, co-written by McQueen and Gone Girl author Gillian Flynn adds deep political subtext to this story that really gives the film a unique feel to it. Furthermore with such powerful women at the centre of this gripping story, in the era of the Me Too movement, it feels all the more powerful and relevant in modern times. What McQueen and Flynn’s script does so excellently is give each woman involved in this daring heist a significant amount of development. Though they come from different backgrounds, each woman absolutely stands on her own two feet and all give excellent performances.

Leading the pack and fresh from her Oscar success, Viola Davis is once again superb in the role of Veronica. She is a woman who has been to hell and back again, both with events in her past and in the immediate aftermath of her husband’s demise. Yet her fiery spirit keeps her going through this turbulent time. Likewise for Alice (Debicki) and (Rodriguez), both of whom are also dealt with a torrid set of consequences in the wake of the heist that robbed them of their spouses. But with the resolute Veronica at the helm, there is no time to mope, they have some work to do.

Though the women have the spotlight absolutely deservedly on them, Daniel Kaluyya’s portrayal of Jamal’s brother, Jatamme is magnificent and absolutely terrifying in equal measure. A VERY different kind of role especially in comparison to his Oscar nominated performance in Get Out, but with every moment he has on screen, his cold demeanour and brutality is enough to send shivers down the spines of the audience. This is a man whose path you do not want to cross under any circumstances.

With the theme of powerful women front and centre, McQueen also brilliantly weaves political drama into the story. There is one moment in particular that really stands out in terms of how the scene is filmed. And by doing it this way, it really sends a startling message about modern day America and in particular modern American politics. It is another film released this year that feels very timely in terms of its themes, whilst also being not afraid to pull any punches, or to let the bullets fly.

A heist/thriller with a lot to say for itself, boosted an impeccable stellar ensemble cast and bold direction, another exhilarating addition to the filmography of Steve McQueen.

2010-2019, Film Review

Sicario 2: Soldado (2018)

Posted on July 4, 2018 by Martin: Through the Silver Screen

Sicario 2: Soldado – Film Review

Cast: Josh Brolin, Benicio Del Toro, Matthew Modine, Catherine Keener, Isabela Moner

Director: Stefano Sollima

Synopsis: As the drug war at the US-Mexico border rages on, and with the cartels now transporting terrorists across the border, the US government recruits Matt Graver (Brolin) and Alejandro (del Toro) to fuel tensions between rival cartels…

Review: Every once in a while, a film comes along that is so gritty and grounded in terms of its execution, that you could be forgiven for thinking that it was a real life drama that was unfolding in front of you. One such film that falls into this category is 2015’s Sicario. The scope of this film focused on the battle on the drug trafficking across the US-Mexico border, and the murky boots-on-the-ground mission that ensued. It was a simple story, but one that was told magnificently through superb cinematography and directing, and a compelling lead performance from Emily Blunt.

So for this next mission, unfortunately all of those three aforementioned components are gone. Blunt’s Kate Macer is out of the picture and out go Denis Villenueve and Roger Deakins as director and cinematographer, and in come Stefano Sollima and Dariusz Wolski respectively. Brolin and del Toro return as does Taylor Sheridan on screenplay duties. This particular story is one that feels very timely as the cartels are smuggling terrorists across the border and so in an attempt to retaliate, the US Government wants to put petrol on the fire and ignite a war amongst the cartels.

Taking the reins from Villeneuve is a big ask, but Sollima’s direction is assured and retains that gritiness and horrifying realism that the first film captured. In addition, with Brolin and del Toro, you know you’re going to get confident performances from these two. However, as good as these guys are, the absence of Blunt feels like a missed opportunity as no one really steps up to fill that important moral compass role that she represented, even in such a murky and dangerous world. Because these guys are not heroes, not in a million years.

**And it’s good night for this person…**

With the high of his directorial debut Wind River, Taylor Sheridan again pens the script. Though he has written four stellar screenplays, this is his first major misstep. Though this film is a lot more complex than the first film as it tries to weave several different strands together, but this results in a very messy and meandering story that just does not mesh those strands together well enough, and is really unfocused. What’s more the characters of Matt and Alejandro are barely developed from the first film, which is a real shame as for Alejandro especially, given the enthralling and deeply personal arc that his character went on in the first film. There is an attempt to expand on that arc, but it is minimal at best.

That is not to say, there are one or two moments in the film that really ground the film in reality, especially a scene near the beginning that bluntly remind the viewer that this is a dangerous conflict that we face in the world today. Hildur Guðnadóttir’s score is assured, but nowhere near on the level of the brilliant, incredibly tense score that Johann Johannsson (RIP) provided for the first film. There is an argument to be made that a sequel was certainly not needed for this film, and when you take away the elements that made that first film great, it should come as no surprise that you’re going to get a film that despite the best efforts of everyone involved, is really lacking the quality that made its predecessor such a riveting piece of cinema.

Retaining the dark and gritty nature of Sicario, Soldado tries to deliver a more complex story, but its messy screenplay severely lacks the spark and emotional punch that its predecessor delivered.

2010-2019, Film Review

Three Billboards Outside Ebbing, Missouri (2017)

Posted on January 18, 2018January 19, 2018 by Martin: Through the Silver Screen

**Image is property of Fox Searchlight and Film4**

Three Billboards Outside Ebbing, Missouri – Film Review

Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, John Hawkes, Peter Dinklage

Director: Martin McDonagh

Synopsis: After a young woman’s murder goes unsolved, her mother rents out the use of three billboards just outside her town to try and force the authorities into action…

Review: As human beings, it would certainly be fair to say that we can be at our lowest ebbs whenever someone we love has passed away. Whether it be from natural causes, or if they’re cruelly and sometimes callously taken away from us. But what could anyone do in the case of the latter? Well there’s not a lot you could do except hope that killer was caught and swiftly faces justice for their actions. However, what if that doesn’t come to pass? Do you have any other options?

Yes is the answer for one bereaved mother, as she chooses to take matters into her own hands. After her daughter Angela was brutally raped and murdered seven months prior, Mildred Hayes makes use of three large billboards just outside of her town, with messages that are directed at the police whose investigation hasn’t yielded any clues. Though by doing this, it causes a stir among the population of the town (and not in a good way) that creates some problems on top of the problems that Mildred is already having in her life.

You would think that such a bleak scenario does not allow for comedy, but that’s exactly what writer/director Martin McDonagh provides. His superb screenplay manages fuses both the comedy and the tragedy of this family drama so effortlessly that one never negates the other. One scene can shift from a wonderfully humorous moment to a gut-wrenchingly sad moment in an instant. Furthermore, in a country that is facing some deeply testing times, the screenplay also goes beyond the personal grief of one family and examines some important issues facing American society today. It’s extremely powerful and hard-hitting.

Being the centrepiece of this story Mildred Hayes is a character who it is clear has had a lot of shit going on in her life besides the tragic fate that befell her daughter. Even though she isn’t exactly going things in the most acceptable or indeed correct manner, you understand her rage that she has for certain people and as such you do sympathise with her. Frances McDormand gives a terrific performance that has already won her a Golden Globe, with more nominations and potentially awards to follow, all of which would be well deserved. Equally terrific are Police Chief Willoughby (Harrelson) who’s encountering his own difficult personal problems and a bigoted policeman (Rockwell) who is absolutely not a friendly chap whatsoever. Yet there is a hint of a man who is a little bit vulnerable, though the same could be said for perhaps almost everyone in the town, with these events having clearly taken their toll on the town as a whole.

With each of the story-lines that these characters have and the ensuing journey that these three in particular go on makes for some hilarious, and in some cases, harrowing viewing. Yet it handles its subject matter in such a delicate manner that the comedy and the tragedy do not cancel each other out. With McDonagh’s razor sharp screenplay and direction, combined with the electric performances from the ensemble cast ensures that the film is extremely thought-provoking. It packs so much more emotional weight that ensures it will leave a lasting impression, on both the viewer and indeed on this current awards season race.