2020-2029, Film Review

Twisters (2024)

Posted on July 20, 2024August 25, 2024 by Martin: Through the Silver Screen

**© Warner Bros, Universal and Amblin Entertainment**

Twisters – Film Review

Cast: Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Brandon Perea, Maura Tierney, Sasha Lane, Daryl McCormack, David Corenswet, Harry Hadden-Paton

Director: Lee Isaac Chung

Synopsis: Years after a personal tragedy, a meteorologist is drawn back into the world of storm-chasing by an old friend…

Review: Mother Nature can be a very beautiful thing, but she also be extremely frightening and deadly if she wants to be. There is no shortage of natural disasters to unleash on anything and anyone who finds themselves in the path of these deadly occurrences. Yet despite the threat these events pose, there is something that is inescapably compelling, and in some cases, inspiring about watching them unfold on the big screen. 1996’s Twister, despite being plagued by a troubled production of adverse weather conditions, is to this day, one of the best examples of a disaster movie, and led to a rise in the number of students who looked to study meteorology. The forecast at the time would surely have predicted a high probability of a sequel. It has taken nearly 30 years to arrive, but it is here, to blow your socks off.

Kate Carter (Edgar-Jones) is a meteorologist living in New York City. Five years earlier, while chasing a tornado with a team to carry out research on how to reduce the storm’s intensity in Oklahoma, tragedy strikes which leaves most of her friends and fellow storm chasers dead, with the only survivor being Javi (Ramos). Such a traumatic experience has taken its toll on Kate, she initially rebuffs an offer from Javi to get back into the world of storm-chasing. However, upon seeing the damaging impact the storms are having and the potential to save countless lives, Kate joins up with Javi and a new team in Oklahoma. When they arrive, they encounter Tyler “Tornado Wrangler” Owens (Powell) a fellow meteorologist, who also happens to vlog his storm-chasing adventures with his eclectic team.

It will not come as news to anyone that tornados can be immensely dangerous, with the most extreme storms capable of reaching wind speeds of more than 300 miles per hour and can stay on the ground for more than 100 kilometres. These perils are devastatingly realised in an extremely tense opening scene in which director Lee Isaac Chung really makes the audience feel the intensity of these storms and how one wrong move can be catastrophic. The script by Mark L. Smith, which serves as a stand-alone sequel to Jan De Bont’s classic, shares no mutual characters and no connective gusts of wind. However, in a world with the threat of extreme weather events becoming more and more common, the screenplay makes the wise choice to not tinker with what made the 1996 film so successful. It merely brings it into the 21st century, with all the technological advancements that have happened, to enable those who would be brave/crazy enough to venture into the heart of a storm all in the name of scientific research, or for just the sheer thrill of it because: “if you feel it, chase it!”.

As the meteorologist in the eye of these storms, Daisy Edgar-Jones is terrific as Kate. Her talent for storm-chasing is immediately evident and she brings an abundance of enthusiasm for it. You get the sense that after stepping away from it for several years, she is eager to make up for the lost time. In what has been a remarkable rise for him over the last few years, Powell is also on terrific form as Tyler. He very much exudes that charisma and bravado that was on display in Top Gun: Maverick, who is at first solely in the business of storm-chasing for internet fame and daredevil. Though initially on rival storm-chasing teams, the duo begin to work together when the very real threat of these storms stands to cause catastrophic damage across the region. Such is their palpable chemistry, that it blows the rest of the supporting cast to the sidelines, aside from Anthony Ramos’s Javi who finds himself torn between the friendship he has for Kate, and the investor of his company, who may or may not be involved with some rather shady business practices.

After directing the heart-warming and soulful Minari, Twisters is perhaps not the next film many would have forecast Chung to be as his follow-up feature. Combined with the immaculate direction of the storm-chasing sequences, as he showed with his tender debut feature about one immigrant family’s pursuit of the American Dream, Chung brings real humanity to the film as the relief efforts to help the people rebuild their lives, homes, and businesses are given the necessary attention. It’s all well and good chasing a tornado to get the blood pumping, but the film never loses sight of the devasting impact these storms have on the people whose livelihoods are in their path. Unless you are the daredevil sort, storm-chasing is an adventure you probably won’t want to be seeking out any time soon, but it will provide you with a blustery good time at the cinema and who knows, maybe inspire a whole new generation’s interest in meteorology? Lightning could most certainly strike twice.

Following in the path of one of the best disaster films might have been a daunting task, but with the charisma of its cast and thrilling and intense storm-chase sequences, Twisters is a thrilling blast of spectacle and struggle against the perils of Mother Nature.

2020-2029, Film Review

The Iron Claw (2024)

Posted on February 15, 2024November 21, 2024 by Martin: Through the Silver Screen

© Access Entertainment, BBC Film, House Productions, A24 and Lionsgate

The Iron Claw – Film Review

Cast: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Holt McCallany, Stanley Simons, Lily James

Director: Sean Durkin

Synopsis: Telling the true story of the Von Erich family as they forge their legacy in the world of wrestling in the 1980s…

Review: What comes to mind when you hear the word “wrestling”? Aside from the sight of impossibly muscular individuals wearing tight spandex, prominent wrestling figures from when the WWE was at the peak of its popularity in the late ’90s to early 2000s. Names such as The Rock, Stone Cold Steve Austin, or The Undertaker may come to mind. However, for those who watched wrestling in the early to mid-80s, the names on everyone’s lips may well have been those of the von Erich family, whose rise to prominence and the subsequent tragedy that befell them is captured with raw and devastating emotion by Sean Durkin.

Opening in a car park after family patriarch Jack “Fritz” Von Erich has triumphed in a wrestling match at the peak of his career. After the fight, he impresses on his young sons Kevin and David the importance of being the toughest, the strongest, and the greatest they could be. If they can do this, nothing could harm them in the face of adversity, which is particularly significant as Fritz harbours a superstition that there is a curse on the family. Flash forwards several years later and the four Von Erich brothers, Kevin (Efron), Kerrie (Allen White), David (Dickinson), and Mike (Simons) are being coached by their father and pushing them to be the best wrestlers they can be, for a shot at the world heavyweight title that eluded Fritz. Each one of them exhibits the passion, the fire inside, and the determination to be the one that brings the title home while they establish their names in the world of wrestling.

An essential goal for any sports film, irrespective of the sport, is to captivate the audience with a compelling story, even if they have no prior knowledge of the sport in question. Durkin’s screenplay is a powerful combination of how the world of wrestling works and how even though matches have pre-determined outcomes, it emphasizes the immense physical and mental strain placed on professional wrestlers to perform regularly, which is what they will need to do if they want to have a chance of being the best. Such mental and physical tolls, combined with the weight of expectation placed upon their shoulders by their father, bring the brothers together to form the most unbreakable of brotherly bonds, which will resonate with anyone who shares a similar relationship with a brother. Each of them has their own unique personality, whether it’s David’s no-nonsense pre-match fighting talk, Kerry’s athleticism, Kevin’s imposing physicality, or Mike’s more reserved demeanour. They all share warm and loving chemistry with each other, making it all the more emotionally crushing when the Von Erich curse strikes the family once more.

In an ensemble filled with brilliant and layered performances to leave the audience on the ropes with the emotional weight of the tragedy of the Von Erichs’ story, it is Zac Efron’s leading performance that delivers the knockout blow. Aside from the awe-inspiring physical transformation (he gained 15 pounds for the role), it is a role that is as far from a cry from his early career as a star of Disney musicals as physically possible. However, with his almost impossibly imposing physicality, he delivers arguably the best performance of his career and showcases his talent as a dramatic actor. He strongly loves his family and wrestling, though the love for the latter is severely tested. Durkin’s script examines the brotherhood between the Von Erichs and the stern tutelage of their father. However, such was the weight of expectation and burden placed on their shoulders, where the pressure on them to perform was insurmountable and the culture of toxic masculinity, took a severe toll on them both physically and mentally. Unfortunately, this doesn’t leave much time to explore Kevin’s relationship with Pam (James) as they begin a life together raising a family of their own, while Tierney as the Von Erich matriarch is also left on the sidelines.

The heart-breaking nature of this story means it would be easy for the audience to become too overwhelmed by an overpowering sense of devastation and melancholy. However, Durkin handles these emotional moments with care and sensitivity so that, like a signature wrestling move, they leave the audience floored for maximum impact when they hit. Durkin and his cinematographer Mátyás Erdély recreate the ’80s time period when it comes to the wrestling scenes, beautifully with immaculately choreographed scenes that look authentic and pack a tremendous punch, particularly when it comes to the iron claw itself, the von Erich family’s signature wrestling move. Wrestling is a sport with such physical demands on its performers, often taking the lives of many wrestlers well before their time. Many members of the Von Erich family may have seen their time on this Earth prematurely cut short, but their achievements in wrestling have ensured the Von Erich family has built a legacy that will live forever.

Powered by a career-defining performance from Zac Efron, The Iron Claw‘s tragic true story of brotherhood, wrestling and legacy stakes its claim for the title of one of the most harrowing sports dramas that will leave you down and out for the count.

2010-2019, Film Review, London Film Festival 2019

The Report (2019)

Posted on November 22, 2019November 22, 2019 by Martin: Through the Silver Screen

The Report – Film Review

Cast: Adam Driver, Annette Bening, Ted Levine, Michael C. Hall, Tim Blake Nelson, Corey Stoll, Maura Tierney, Jon Hamm

Director: Scott Z. Burns

Synopsis: In the aftermath of the September 11 attacks, a United States Senate staffer is tasked with leading an enquiry into the use of torture by the CIA with some shocking discoveries…

Review: September 11, 2001 is one of those days that if you were alive, everyone remembers where they were and what they were doing on that terrible day. In the wake of such unimaginable devastation and loss of life, any government would be under pressure to bring the perpetrators of such a callous attack to justice. But as we know, the war that was waged in response to 9/11 had long lasting consequences, and not all of it has been widely available public knowledge.

Daniel Jones (Driver) is a Senate Staffer who’s recruited to work for Senator Dianne Feinstein (Benning). Tasked with investigating the “enhanced interrogation techniques” that were used by the CIA to try and extract information from Al-Qaeda terrorists to give them intelligence. Spending many years of his life, trawling through thousands upon thousands of pages of rather chilling evidence, the details that are uncovered are startling. To further complicate matters, politicians clamour to prevent the full details of his report from being made public.

In this inescapable partisan nature of politics in this day and age, to craft a compelling balanced narrative out of such heavy and hard-hitting material is a tall order, but writer/director Scott Z. Burns does exactly that. In a drama that relies on people spending most of their time on screen either sitting at their desks researching on computers, or having conversations with politicians. It’s imperative that the script be well-written and on point to carry the film’s narrative throughout. Furthermore, to avoid getting bogged down in partisan politics, the film clearly illustrates that no side of the political spectrum is absolved of blame when it came to the attempts to block the report from being made public.

Given his status as one of the most prolific actors currently in the business, it should come as no surprise that Adam Driver once again gives an excellent performance. In the same vein that Official Secrets was resting on Keira Knightley’s shoulders, the onus is on Driver’s Daniel Jones to navigate the audience through this important period in modern US history and leave no stone unturned in what went on, and who was responsible for allowing this to happen. By his side through all of this is Annette Bening’s excellent turn as Dianne Feinstein. A politician who is resolute in her belief to do the right thing, whilst ensuring she is not too overtly biased towards her side of the political spectrum.

The torture scenes in the film make for, as you might expect, uncomfortable viewing. However, they are necessary to put the events, and the work that is carried out by Jones and his team, into context. The editing is a little uneven in the first act as the film between the investigative work being carried out, and the torture scenes. While these do serve their purpose, they can get a bit tiresome very quickly. Thankfully these are not focused on for too long. The report itself and the efforts to bring it to the attention of the public become the sole attention. There’s nothing remarkable about Burns’s direction, but the gripping subject matter and some excellent performances maintain the investment in the story.

The world, in particular the world of politics is a scary place right now. In a time when politics, and by consequence politicians are becoming increasingly fraught, bitterly divided on allegiances to an individual and or a particular party. Rather than be beholden to blind allegiances, it pays to be open-minded and to not let party politics cloud your judgement, especially when it comes to examples of blatant wrongdoing that should not be buried behind mountains of legal paperwork.