2020-2029, Film Review

The Brutalist (2025)

Posted on February 15, 2025 by Martin: Through the Silver Screen

© A24. Universal Pictures and Focus Features

The Brutalist – Film Review

Cast: Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Emma Laird, Isaach de Bankolé, Alessandro Nivola

Director: Brady Corbet

Synopsis: A talented architect escapes post-World War II Europe and emigrates to the US to start a new life in pursuit of the American dream…

Review: An arduous boat journey, followed by a walk down a gangway, to mark the start of a new life in a country that offers so much potential and opportunities for success. This is the core principle of the American Dream, a concept popularized by US writer James Truslow Adams during the Great Depression. It has been ingrained in the ideals of the nation for decades. No matter who you are or where you come from, you can achieve your dreams in the United States of America. This promise has inspired millions of immigrants to move to the country and lies at the heart of this ambitious and powerful film by Brady Corbet.

In post-World War II Europe, Hungarian-Jewish architect László Toth (Brody) emigrates to the United States after surviving the Holocaust. Unfortunately, he has been separated from his wife, Erzsébet (Jones), who remains in Europe with their niece, Zsófia (Cassidy). After disembarking from the boat and catching an upside-down glimpse of Lady Liberty in all her glory, László makes his way to Pennsylvania to stay with his cousin, Attila (Nivola), and Attila’s wife, Audrey (Laird). Attila offers László the chance to work in his furniture business. One fateful day, they receive an offer from Harry Lee Van Buren (Alwyn), who wants to hire them for a job to renovate the library at his father Harrison’s (Pearce) home. Initially, Harrison, a wealthy industrialist, strongly disapproves of the renovations and dismisses László from his home without paying him for the work. However, after László’s designs for the library receive glowing praise from the architectural community, Harrison returns to offer László the opportunity to design his magnum opus: a community centre that will house a gymnasium, chapel, and reading room in honour of Harrison’s late mother.

In such times when the subject of immigration is at the centre of hateful and bigoted rhetoric emanating from certain world leaders, the arrival of such an expansive and grand film in terms of its scope and themes couldn’t be more timely. Like a vast and tall structure built to last for generations to come, Corbet and Mona Fastvold’s weighty screenplay tackles a plethora of meaningful and potent subjects including the Jewish identity, the unremitting horrors the Holocaust inflicted on the Jewish people, the joys and hardships that go along with looking to fulfil the promise of the American dream as an immigrant, and the desire to make or construct something which will ensure you leave a lasting legacy on the world. Yet that ambition comes with a cost, because as Laszlo finds out, to what extent will you drive yourself into the ground in pursuit of perfection when the path to get there is littered with seemingly mountainous obstacles too heavy to move?

To leave everything you have known behind to pursue a brand new life on an entirely new continent is a journey that millions have embarked upon across generations. For Adrien Brody, whose mother and grandparents fled their native Hungary to emigrate to the US, it is evident how much of a personal role it is for him. He channels this into his incredible performance as we can see Laszlo is a man driven by his passion for his craft, and his determination to make a better life for himself so that one day Erzsébet and Zsofia will finally be able to join him in the US. Such is the lengthy process, it takes a while for Erzsébet and Zsofia to finally be reunited, but when she does finally arrive in the US, Jones more than makes her presence known with a powerful performance. As the wealthy benefactor who plays a central role in giving Laszlo a chance to realise his vision, Pearce is utterly compelling as Van Buren Sr. There is a warmth to him, a generosity where he recognises Laszlo’s talents. However, beneath that warm and embracing exterior, there is a hint of a darker side, a jealousy and bitterness that threatens to come to the surface as the film, and this hugely ambitious project progresses.

Whenever a film clocks in at a runtime exceeding three hours, discussions inevitably arise as to whether it justifies such a lengthy runtime. With a built-in intermission, the film’s structure keeps eyes firmly transfixed on the screen, be it the awe-inspiring production design, Lol Crawley’s breathtaking cinematography and the majestic score by Daniel Blumberg. Given the exorbitant budgets with which many films are made these days, how the film only cost $10m is astonishing and should serve as a lesson for filmmakers that exorbitant budgets aren’t always needed. However, even with the lengthy runtime, during which the audience has been taken on an immersive journey across several decades, the conclusion comes off as very abrupt and rushed. Like spending years on an exciting construction project, only to haphazardly complete the final stages in a comparatively short period. Even with such a lengthy runtime, the film would have benefitted from an extra 15 to 20 minutes to provide audiences with some necessary closure.

Despite some question marks about the film’s use of AI to enhance the Hungarian dialogue of László and Erzsébet, as well as for some of the former’s drawings, what Corbet has brought to the screen with only his third feature film is mightily impressive. With its pertinent exploration of the struggles of immigrants to fulfil the promise that the American dream sold to them, combined with its weighty themes of striving to establish yourself as a master in your craft, only to be held back due to a plethora of societal factors, including but not limited to the brutal (pun absolutely intended) nature of capitalist society. The wondrous filmmaking will only carry increased significance as time goes by.

Across such an epic runtime, The Brutalist could have easily been bogged down by the sheer ambition of its timely story. However, with an engrossing performance from Adrien Brody at its core, Corbet has built a towering and pertinent examination of the immigrant experience which will stand tall for generations to come.

2010-2019, Film Review

Mary Queen of Scots (2018)

Posted on January 24, 2019January 24, 2019 by Martin: Through the Silver Screen

**Image is property of Working Title, Focus Features, and Universal Studios**

Mary Queen of Scots – Film Review

Cast: Saorise Ronan, Margot Robbie, Joe Alwyn, David Tennant, Guy Pearce, Gemma Chan

Director: Josie Rourke

Synopsis: After the death of her first husband, Mary Stuart returns to her Scotland where she is crowned Queen, posing a threat to the crown of her cousin, Queen Elizabeth I…

Review: The time of the Tudors was, as perhaps its most well known ruler Henry VIII is any example, an interesting period in history. Squabbles with the Pope and the Catholic Church, half a dozen different wives for one particular monarch, a few hundred Protestants being burnt at the stake for another, and quite a few people literally losing their heads. An interesting period then for a director who has a wealth of theatre experience, Josie Rourke to make her cinematic debut, and it’s a transition one she makes remarkably well.

In this period piece however, we focus on the final monarch of the Tudor dynasty, Elizabeth I and specifically her struggles that she endured when a younger Queen, namely Mary Stuart, arrives in Scotland and poses a very serious challenge to the English throne. Mary, meanwhile has her own problems to deal with as being a Catholic, some do not approve of her religion and hence do not see her as being the rightful ruler. And so begins a power struggle, with the two Queens competing to rule.

Being the regal women that they are (both in life and in this film), Saorise Ronan and Margot Robbie are both on excellent form as Mary and Elizabeth respectively. Ronan brings a real fiery feminist nature to her portrayal of Mary, fierce but determined to succeed when there are men, such as John Knox (an excellent David Tennant) who view her with pure contempt due to her Catholic faith, not to mention her gender. For Robbie, she is not quite as fierce as her Scottish counterpart, but she possesses some steely determination when, with the years passing, her inability to produce an heir to her throne, start to take their toll.

The screenplay by Beau Willimon of House of Cards fame does take a little bit of time to get going in the initial stages, but when it gets going, it successfully weaves politically scheming and conniving, mixed in with some romantic drama and political squabbling. That being said, what with there being so much history in the period of Elizabeth I alone, the film tries to cram a substantial amount into its run time, which can leave things feeling a little uneven in terms of its story. Rourke’s direction is remarkably confident for someone making their cinematic debut, and she clearly shows that she has the talent to further her career as a film director.

When bringing any period piece to the screen, it’s imperative that the costumes and production design are resplendent and both are equally so, with Alexandra Byrne’s costumes especially going some way to add that extra layer of authenticity. Their brilliant work is complimented by the gorgeous cinematography provided by two time Oscar nominee John Mathison. For sure the film takes some liberties with its source material, but so long as it serves the story, which in this case it does, then all the better for it. Given the times we are living in, the film reminds its audience, that women, no matter who they are, where they come from or what time they lived in, deserve to have their voices heard.

Offering an intriguing look at the workings of Tudor politics, mixed in with two excellent performances from its leading ladies, ensures that this biopic packs some royal ferocity.

2000-2009, Film Review

Memento (2000)

Posted on July 18, 2017 by Martin: Through the Silver Screen

**Image is property of Summit Entertainment**

Memento – Film Review

Cast: Guy Pearce, Carrie-Anne Moss, Joe Pantoliano

Director: Christopher Nolan

Synopsis: A man tries to piece together clues as to who murdered his wife, whilst trying to overcome the fact that he has short term memory loss…

Review: The conventional way of telling a story: Beginning, middle, end. It is how most movies choose to tell their story. Of course, some directors have a habit of telling their stories in not exactly the right order. But for a film to elect to tell its story from the end to the beginning, is certainly bold to say the least, and could very easily backfire. However when you have a director like Christopher Nolan at the helm, it works an absolute treat!

With a screenplay adapted from a short story written by his brother Jonathan, focusing on Leonard Shelby, a guy who suffers from short-term memory loss, with not a single recollection of what he did 5 minutes ago. He’s certain of his identity and of the fact that someone killed his wife and during that incident something happened to him that gave him his condition. Through use of Polaroid pictures and tattoos on his body, he uses these as clues to what he hopes will lead him to the answers he’s desperately seeking. With some scenes playing back to front, and others playing in chronological order, it could have ended up as one convoluted mess, but under Nolan’s expert vision, it’s not a mess, it’s mindbogglingly brilliant and, at the same time, really perplexing.

The way he tells the story is certainly unconventional, but it keeps you engaged. You know how the story went from point A to point B, but watching it go from point B back to point A, is just completely riveting to watch, and very unique. The riveting story is boosted significantly by the brilliant work of the case, especially Pearce. Given that the film focuses on Leonard and his condition, it was of critical importance that the actor gave a believable performance, and that is exactly what Pearce gives, you buy into this guy and his condition, and it remains perhaps the greatest performance of his career. Carrie Anne Moss is also superb as Natalie, a woman who is helping Leonard fit together the pieces of his puzzle and there’s Joe Pantoliano’s Teddy, a man who you’re never quite sure as to what his ulterior motive is.

Whenever you watch a thriller, a twist that the audience never sees coming is so often thrown in there so it can stun the audience when the penny drops and it’s revealed. Though Nolan doesn’t give himself that chance to shock the audience, the structure of the film ensures it remains a cinematic experience unlike anything else. With an excellent score from David Julyan, this was the film that made audiences really sit up and take note of Christopher Nolan and his considerable talents, which were duly recognised with an Oscar nomination for his screenplay. And as we all well know, it certainly wasn’t the last time audiences would hear of him, not a chance.