Tag: Western

Posted in 2020-2029, Film Review, London Film Festival 2021

The Power of the Dog (2021)

Posted on by Martin: Through the Silver Screen
© Netflix

The Power of the Dog  – Film Review

Cast: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee, Thomasin McKenzie, Genevieve Lemon, Keith Carradine, Frances Conroy

Director: Jane Campion

Synopsis:  The relationship of two brothers in 1920s Montana is put to the test when one brother settles down and introduces his new wife, and her son, to the other brother…

Review: What does it to be a man? Even in modern times, the stereotype of the masculine man is someone who is expected to be hard, tough, and forbidden from displaying any sort of emotion that might deem them as being “weak” and “unmanly”. While someone on the outside may present themselves as tough and strong, inside they can easily be the polar opposite. They could potentially be hiding some pretty big insecurities. While we have broken down some of those absurd barriers of men being unallowed to express emotions, back in the 1920s, such an idea was unheard of. In her first film for 12 years, Jane Campion explores the concept of toxic masculinity from the perspective of two very different people.

The setting is Montana in 1925, and brothers Phil (Cumberbatch) and George Burbank (Plemons) are very successful ranch owners. Phil is the tough, masculine, and considerably more cruel brother. He regularly likes to throw around insults, especially towards George. George, by contrast, is in every sense, the polar opposite to Phil, who is considerably more friendly, gentle, and hospitable. When George meets Rose (Dunst), he becomes instantly smitten with her, and the two marry. When George brings Rose and her son Peter (Smit-McPhee) home to the Burbank ranch, it doesn’t sit well with Phil at all. Phil becomes determined to do all he can to make Rose’s and Peter’s lives a misery, which will only add further strain to the tense relationship that already exists between the two brothers.

When you picture the average Western, you may picture a scene that depicts cowboys standing outside a saloon with their guns drawn in some rural town in the Wild Wild West. While the setting is sort of the same (substitute the majestic hills of New Zealand for those of rural USA), Campion instead takes a considerably different approach to this story. Adapted from the 1967 novel of the same name by Thomas Savage, her screenplay takes a considerably slow-burn approach to the story, that’s bathed in the gorgeous cinematography from Ari Wegner. Campion is clearly not interested in those tense shootouts, and is instead more focused on who the characters are as human beings. This is a personal, emotionally character-driven piece that thrives by taking its time to thoroughly examine the internal conflicts that are brewing inside these characters, and how these can spill over into their relationships with the other characters.

As the man at the centre of this story, Benedict Cumberbatch gives a terrific performance as Phil Burbank. Due to his tendency to willfully bully and insult others around him, he is definitely not the easiest character to spend some time with. He takes great satisfaction and joy in the mistreatment of others. Yet, as the film progresses, that brash and cruel exterior is peeled away, as not everything is what appears to be with Phil, and Cumberbatch’s nuanced performance captures this superbly. There’s an internal struggle within himself, and with some of the other characters that keep you invested as the film goes on, especially between Phil and Peter. Initially, one of the targets of Phil’s cruel insults due to his lisp and some of his mannerisms, it becomes fascinating to see how the relationships change once certainly layers are peeled back. Like Phil, there’s more to Peter than what you see at first glance, and Smit-McPhee’s performance is as equally nuanced as Cumberbatch’s.

As the dynamic between Phil and Peter is the one that is given the most screentime, it does mean that some of the others, most notably between Phil and George and Rose are not given enough screentime as they maybe could and should have. Plemons is severely underutilised once we reach the second half of the film. What’s more, for all of her strengths as an actress, Dunst also doesn’t have much to do except cower in fear whenever she comes face to face with Phil. This fear of her brother-in-law leads her down a dark path of addiction. While Dunst excels with the material she’s given, there was scope for a further exploration of the demons that she’s facing. Nevertheless, Campion’s slow-burn approach to this story and to the characters ensures that the mysteries that are at the centre of the film are extremely compelling to watch as they unravel. The Power of the Dog packs plenty of both bark and bite in equal measure.

A Western unlike any other. Campion’s long-awaited return to the director’s chair bides its time with its story, which makes the film’s atmospheric journey, and the mysteries contained within, all the more enthralling to watch.

Posted in 2020-2029, Film Review, London Film Festival 2021

The Harder They Fall (2021)

Posted on by Martin: Through the Silver Screen
© Netflix

The Harder They Fall  – Film Review

Cast: Jonathan Majors, Idris Elba, Zazie Beetz, Regina King, Delroy Lindo, Lakeith Stanfield, RJ Cyler, Danielle Deadwyler, Edi Gathegi, Deon Cole

Director: Jeymes Samuel

Synopsis: When he learns that his bitter enemy has been sprung out of prison, an outlaw re-forms his gang to take his adversary down once and for all…

Review: What is the first thing that comes to mind when someone says the word “Western”? A shot of a rural town in the USA, showdown duels with guns, cowboy hats/boots, and the familiar sounds of the spurs on the boots, or the doors of a saloon opening and closing. Perhaps there’s also a musical number akin to something that you’d hear from The Good, The Bad and the Ugly, is playing in the background, as a Caucasian hero strolls in on horseback to save the day? The Western is a genre that so often has white people at the forefront of the story. Yet too often, black people find themselves on the sidelines when it comes to these types of films. Hence, to see a Western that places the experiences of black people at this point in history at the forefront, with an all-star cast of some of the finest black actors currently working in Hollywood, is extremely refreshing, and long long overdue.

Nat Love (Majors) is an outlaw who has got a burning desire for revenge against Rufus Buck (Elba) after Buck committed an unforgivable crime when Nat was young. Now as an adult, when Nat learns that Buck has been freed from his incarceration as a prisoner, he’s out for revenge. He reforms The Nat Love gang, which includes real-life historical figure Stagecoach Mary (Beetz) and Cuffee (Deadwyler), to take down Buck once and for all. The only problem for Nat Love and his gang, is that Buck has his own gang surrounding him, including Treacherous Trudy Smith (King) and Cherokee Bill (Stanfield), determined to protect him at all costs. With the conflict between the two rival gangs boiling over into an all-out war, the bullets are gonna fly.

When taking one look at the cast that Samuel has assembled, there’s only one word that best describes it: stacked. No matter where you turn, there are actors with glittering careers everywhere you look. The end result is a brilliant cast, all of whom are in scintillating form. This crop of characters are certainly not ones you would want to cross, but that doesn’t mean that they are not extremely compelling and hilarious to watch. Jonathan Majors is someone who has burst onto the scene relatively late, in comparison to some of his cast members. Yet, in the few short years since he rose to prominence, he’s proven himself to be an extremely compelling on-screen presence. This continues with his performance as Nat. It’s quite the unenviable task to take a character like an outlaw, and add an incredible layer of depth and humanity to that role. Yet, with just about every performance he has given in recent years, Majors pulls it off brilliantly.

As Nat’s love interest, the relationship between Nat and Stagecoach Mary could have been very conventional. While the chemistry between the two is most assuredly there, Beetz plays this character as someone who is not subservient to Nat in any capacity, she’s more than capable of kicking Nat’s arse if she wanted to, and likewise for Cuffee. On the other side of this gang war, the character of Rufus Buck is someone who you dare not cross if you value your life, and Elba’s performance is suitably intimidating. Alongside him, Regina King is clearly relishing the opportunity to play an antagonist, and she’s absolutely terrific to watch. However, there’s far more to both their characters than just robbing banks and shooting down anyone in their way. As with Majors’ Nat Love, and indeed every character that you see on screen, there are subtle nuances to these characters that make them far more than just outlaws who are in this business for the money.

It is incredible to think that this is Samuel’s feature film directorial debut. While he has worked on music videos and short films with Jay-Z (who is one of the film’s producers), it’s quite the leap to go from directing short films and music videos, to directing a thrilling Western with some of Hollywood’s finest. Yet when you watch what Samuel, who also wrote the script, has concocted, it’s an absolutely breathtaking achievement. His direction is so confident and stylish, if you had no idea that this was his first feature film, you would be forgiven for thinking that he’s a seasoned director who has been doing this for years. It all translates into an enthralling and compelling story that grabs you from the word go.

Some may well struggle with the thick Texas accents that some of the characters speak with. However, by telling this story from the perspective of people who were not trapped in the brutal institution of slavery, it lends a much-needed new perspective to the people and the lives they led at this point in history. With such a confident and brilliant feature film debut, an exciting new voice has entered the world of filmmaking. No matter what project he chooses to do next, Jeymes Samuel will surely have captured the curiosity and the attention of audiences all over the world, and deservedly so.

The Western genre has been given a much-needed revitalisation. Impeccable performances from its all-star cast, combined with slick and stylish action, and the end result is a breath-taking feature film debut from Jeymes Samuel.

Posted in 2010-2019, Film Review

The Ballad of Buster Scruggs (2018)

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

The Ballad of Buster Scruggs – Film Review

Cast:  Tim Blake Nelson, James Franco, Liam Neeson, Zoe Kazan, Brendan Gleeson, Tom Waits

Directors: Joel and Ethan Coen

Synopsis: A collection of six unique short stories, telling the plights of various people in very different situations in the West after the Civil War.

Review: Beginning, middle and end, a structure that films tend to adhere to. However, every once in a while, a film will come along that deviates from this structure. It may choose to tell the story in reverse order or to jump back and forth.  Hence this latest venture from Joel and Ethan Coen is unique in this respect, as instead of telling one story across two hours and ten minutes to be precise, they fill this by choosing to tell six unique stories charting the lives of a handful of different folk, each of whom are in a variety of different situations in the wake of the Civil War.

To tell six miniaturised stories as opposed to your more traditional three-structured film is an unconventional choice to say the least, but under the assured direction of the Coen brothers, it for the most part works a treat. Though some are much stronger than others, there is enjoyment to be hand in each of the stories that the Coens bring to life. Telling each story through the perspective of a storybook, we jump in with funnily enough Mr Buster Scruggs himself (Blake Nelson) a tootin’ cowboy who likes to play his guitar and sing a song for y’all. But, he is also a dab hand with a pistol, which inevitably leads to some trouble down the line.

Next we move onto ‘Near Algodones’ a nameless-up-to-no-good cowboy (Franco) who finds himself in a tricky predicament when he tries to rob a bank, with some hilarious results. “Meal Ticket’ features Liam Neeson and Harry Melling as a theatre double act, the latter of whom has no arms or legs. Despite putting on a good show, they find their numbers and income decreasing, which puts Neeson’s character in a tricky situation as to what to do with his companion. While there is some intriguing moments with both of these two segments, they do end somewhat abruptly, which is frustrating, particularly in the case of the latter, it really would have benefited with a bit more closure to the story.

The next two stories are where the film really starts to shine. ‘All Gold Canyon’ features Tom Waits as a prospector seeking the fortune of a rather large collection of gold located in an absolutely beautiful valley. Now would be a good time to mention Bruno Delbonnel’s superb cinematography which is on point across every story, but it is here especially is where it shines brightest. Waits is great as this wacky prospector seeking this fortune that, perhaps unsurprisingly has attracted the attention of some other folk looking for this fortune for themselves. ‘The Gal Who Got Rattled features Zoe Kazan as a young woman who after a family tragedy is seeking a new opportunity. It’s more dialogue heavy than the preceding stories, but Kazan’s excellent performance makes it extremely compelling to watch.

Finally, the last segment  ‘The Mortal Remains’ retains the intrigue but being the most dialogue heavy of all the stories, it is considerably not as interesting as the preceding stories. Though the dialogue is well written once again, it is really quite underwhelming as a final chapter to a rather fascinating collection of short stories. All six stories do explore similar themes about the human struggle as we all navigate this small little thing called life that we as human beings all negotiate, and the rather significant matter of death. However, to ensure that it is not all doom and gloom, The Coens, much like we all do with our own lives, fill each of these segments with their signature style of comedy that, for the most part, serves each story really rather well.

The short nature of each story will undoubtedly leave some viewers unfulfilled. Nevertheless, the thought provoking themes that beat at the heart of all six of the stories, plus some exquisite work in the cinematography, production design and costume department give this anthology film some mighty visual splendour. Though this is not on the level of say a No Country for Old Men or True Grit, given the rambling mess that was Hail! Caesar, a return to the Wild West, and indeed a much more coherent film from the duo is a darn good thing y’all.

Combining comedy and some very dark and dramatic moments, with some strong themes that beat at the heart of all six stories, this is a most welcome to return to form for the Coen brothers. 

 

Posted in 2010-2019, Film Review

Solo: A Star Wars Story (2018)

Posted on by Martin: Through the Silver Screen
Image is property of Disney and Lucasfilm

Solo: A Star Wars Story – Film Review

Cast: Alden Ehrenreich, Donald Glover, Woody Harrelson, Emilia Clarke, Thandie Newton, Paul Bettany, Joonas Suotamo

Director: Ron Howard

Synopsis: Charting the origins of a young Han Solo as he escapes a desolate planet and finds a calling as a pilot and a smuggler, which sends him on an adventure where he meets a few familiar faces…

Review: Whenever a discussion regarding the greatest characters to have graced the big screen get discussed, one name that is very likely to crop up is everyone’s favourite stuck-up, half-witted, scruffy-looking nerf herder, AKA Han Solo. Right from his very first appearance in the franchise, he just charmed his way into the affection of legions of fans across the galaxy.  So in the wake of the extremely successful Rogue One, comes the latest chapter in the Anthology franchise, taking a look at a much younger Han, and how he came to be the cocky smuggler we know and love. 

It is no secret that the production of this film ran into a few problems somewhat when original directors Phil Lord and Chris Miller were given their marching orders, perhaps they made the mistake in shooting first? With the duo ejected off the project, Ron Howard was handed the keys to the ship. It is not known how much Lord and Miller had filmed before their exit, nor to what extent their efforts are what we see in the finished product. Given those well documented production problems, there were some concerns about how the film would turn out. Though Rogue One also had some well document production problems of its own, the finished product stayed on target to deliver the goods. Unfortunately the same can’t be said for Solo.

The start of a beautiful furry friendship…

The adventure that Star Wars veteran writer Lawrence Kasdan and his son Jonathan take us on explores the early stages of Han’s life, how he forged a friendship with a certain Wookie and the beginnings of his life as a smuggler as he gets dragged into a mission alongside said Wookie, and a group of fellow smugglers. However the film severely suffers with its pacing as the initial stages really drag. Furthermore, once the plot finally goes into lightspeed, it is just extremely bland and not memorable in the slightest.

Though it might take some time to adjust to him, Alden Ehrenreich does a solid job as the young Han. Though it has to be said, there are plenty of actors who could have assumed that role and done an equally splendid job. In spite of that, and the enormous shoes that he had to fill, he does do his best to capture that roguish streak that made him such a memorable presence in the original trilogy. There is certainly enjoyment to be had in looking at how this unlikely pair became the duo we know they come to be, as is exploring the early relationship between Han and Lando, who is perfectly portrayed by Donald Glover. Certain characters get introduced and the audience is barely given a chance to get to know them before the plot moves forward.

Apart from Han and Lando, there is severe lack of development on many of these characters. And for the ones that do get some development, like Emilia Clarke’s Qi’ra, it is flimsy at best. One thing that has so often been a staple of Star Wars films of the past was the presence of a strong compelling villain. There is a villain here, but due to a severe lack of development, he does not get the chance to leave a solid impression. Ultimately, this is also applicable for much of the rest of the cast, which is a shame when you consider the real talent of the actors involved. On that note, some of the cinematography on show here is really murky and just looks awful, which is baffling when you realise that the DP is Bradford Young, the man who was behind the lenses to the superb Arrival. And while everything is competently made, the direction from Howard is solid if unspectacular.

Usually with every SW film, there is at least one shot or scene that sticks in the mind, but with Solo these are few and far between. Furthermore, the the generic nature of the plot and its by-the-numbers execution leaves a lot to be desired, particularly when it is compared to the recent Star Wars films, both of the main new trilogy and the first Anthology film. With Han Solo, a character who never likes to be told the odds, the odds were stacked against this film, and sadly despite a super talented cast and production crew, it fell short of those lofty expectations that many perhaps expect from a Star Wars adventure. Don’t punch it Chewie, where’s that escape pod?

There is fun to be had, but the presence of the Star Wars name cannot disguise the very bland and forgettable nature of the story, even with a super talented cast and director.

Posted in 2010-2019, Film Review

Logan (2017)

Posted on by Martin: Through the Silver Screen
logan
Image is property of Marvel Entertainment, Kinberg Genre, Hutch Parker Entertainment, The Donners’ Company and 20th Century Fox

Logan – Film Review

Cast: Hugh Jackman, Patrick Stewart, Richard E Grant, Boyd Holbrook, Dafne Keen, Stephen Merchant

Director: James Mangold

Synopsis: Set in 2029, Logan, whose powers are on the wane,  is spending his days out of the spotlight  until he gets dragged back to the conflict when he is charged with the protection of a young girl, whose powers are remarkably similar to his own.

Review: When any actor plays a character for a remarkable length of time, sooner or later, they will eventually have to say farewell to that character. Therefore when an actor does make that decision to say adieu to a character, especially if it is a one that he has become perhaps most well known for, there is an understandable desire to ensure that the character goes out on the highest note possible. Ever since he first took on the role of the clawed mutant, all the way back in 2000, Hugh Jackman has become synonymous with this character and so he’ll have undoubtedly wanted one last hurrah before he hangs up the claws for good. With this being the third solo Wolverine movie, after one awful miss and one solid hit, it is safe to say that this is most definitely third time lucky.

logan-2

For a while now, superhero movies didn’t elect to go down the hard R, extremely violent, action route. This is of course until a certain Mr Deadpool came along last year and changed the game. Thus for this outing, the decision was made to follow in the footsteps of the Merc with a Mouth and go for violence, lots of bloody violence, and for a character like Wolverine, it was the perfect route to go down. As well as the gritty violence, there’s no shortage of profanity too from Logan but also from an actor who let’s just say you never thought you would hear drop quite a few F bombs, but seeing it happen, is rather glorious. Jackman has shone every time he steps into Logan’s shoes, but here might just be his best ever work in the role. He’s a very jaded soul, and his powers are dwindling, but he’s still the ultimate badass, and likewise for Patrick Stewart as Charles Xavier. Having watched these characters before, be at such breaking points, is by no means easy to watch, but both REALLY excel.

Writer and director James Mangold ensures that the screenplay packs plenty of emotion into it, this is no small part due to the fact that Logan is charged with the protection of a mutant named Laura, who is being hunted by some dastardly people for reasons that shall not be disclosed here. Though the plot moves forward at a steady pace, there are moments where it does falter a little bit, but they are momentary lapses. Though 2013’s Wolverine had a few shaky cam issues, there’s none of that here, as the action is shot beautifully. Dafne Keen, for one so young, never seems lets the pressure of being in a big budget Hollywood movie faze her, as she excels in what is a remarkable breakthrough performance. There are scenes between the three main protagonists that are truly touching and by the end you may find yourself fighting back some tears.

logan-3

It truly is the end of an era, as Jackman is looking very unlikely to pick up the claws again. Having played the role nine times across an incredible seventeen years, with for the most part, phenomenal success, it certainly is the role that has defined Jackman’s illustrious career, and one he has made his own. What’s more, this movie gives him the perfect swansong that he and the character absolutely deserve. Should they ever decide to recast the role in a future movie (which seems an absolute certainty) the new actor will certainly have some very big claws to fill.

This is the Wolverine movie that the fans have been begging for, and have finally received. Dark, gritty, very violent and a superb final turn as the claw wielding mutant for Jackman. 

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Posted in 2000-2009, Film Review

No Country For Old Men (2007)

Posted on by Martin: Through the Silver Screen
no-country
Image is property of Miramax Films and Paramount Vantage

No Country For Old Men – Film Review

Cast:  Tommy Lee Jones, Josh Brolin, Javier Bardem, Woody Harrelson, Kelly MacDonald

Directors: Joel and Ethan Coen

Synopsis: When a man stumbles across a drug deal that has gone sour and finds a suitcase with a large amount of cash, he finds himself being pursued by a relentless hit-man who will stop at nothing to reclaim the cash…

Review: What would you do if you happened to come across a substantial amount of cash that you found in the desert? Chances are you’d probably take the loot and run as fast as you could for the hills. Yet what if you knew (somehow) that the money was the subject of a drug deal that had gone just a bit awry? Would you think twice? You might well do if you knew that there was a psychopathic man after you, who will stop at nothing to recover the loot from said drug deal.

Adapted from the novel of the same name by Cormac McCarthy, at the centre of this thriller is Llewelyn Moss (Brolin) who upon finding the aforementioned loot does decide to bag the cash and make a run for it, along with his wife Carla Jean (MacDonald). However his pursuer Anton Chigurh (Bardem) is the crazy mofo who is after the cash, and possess machine like determination in order to hunt Moss down and reclaim the cash. Thus this gives the audience a game of cat and mouse, that is brilliantly written and expertly brought to the screen by the Coen brothers. Right from the moment the chase begins, the tension begins and never abates until the credits role. The dialogue is minimal in some scenes but the tension remains high throughout the two hour run time as you watch this chase unfold.

The film is bolstered immeasurably by the performances of its three main actors, all of whom give excellent performances, Tommy Lee Jones is perfect as the gruff Sheriff Ed Tom Bell who becomes involved in the chase between Moss and Chigurh, all the while becoming horrified with what the world has become. Brolin, as the mouse in the chase, is also excellent determined to do whatever it takes to survive, mainly due to the strong love of his wife . Yet, it is undoubtedly Bardem who gives the most impressive performance. Here’s a man who could make the most innocuous conversation sound utterly terrifying, such as a conversation about the toss of a coin. He hunts his prey with Terminator like efficiency with even a terrifying haircut! He will spare no one in his quest to reclaim the cash, and is certainly remains one of the finest psychopathic, menacing villains that has ever been put to the big screen.

chigurh

The Coens masterful writing, lifting McCarthy’s novel from page to screen excellently, and their exquisite direction is aided by the usually flawless cinematography from Roger Deakins, marking his incredible 8th collaboration with the Coens. Both were recipients of Oscar nods for their incredible work, and in the case of the Coens, it was three times a charm as took home the prizes for directing, writing for an Adapted Screenplay and Best Picture, as well as a well earned triumph for Bardem for Supporting Actor. Sadly Deakins did not take home the gong for cinematography, but the sheer quality of his work remains crystal clear. What also remains clear is that this is one of, if not, the finest pieces of work from the Coens. The ending leaves much open to interpretation, as such, it may jar with some, but when you sit down and assess everything you have witnessed, it is absolutely perfect, a word that could be used to describe just about every aspect of this extraordinary film.

Anchored by three outstanding performances by its leads, with brilliant dark humour thrown in for good measure, this is the Coen brothers’s masterpiece, without any question of a doubt.

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Posted in 2010-2019, Film Review

Hell or High Water (2016)

Posted on by Martin: Through the Silver Screen
hell-or-high-water-poster
Image is property of CBS Films, Lionsgate, Sidney Kimmel Entertainment and OddLot Entertainment

Hell or High Water – Film Review

Cast:  Chris Pine, Ben Foster, Jeff Bridges

Director: David Mackenzie

Synopsis: Two brothers (Pine and Foster) begin robbing banks in order to keep their finances afloat. However, their crimes soon come to the attention of a Texas Ranger (Bridges)  

Review: Chances are if the premise of a film that is centred on two guys who are resorting to robbing banks as a means of financial support, you’re unlikely to want to see these guys get away with their crimes and you hope that the full justice of the law catches up with them. You think the crooks are the bad guys and the law is the good guys? Well yes and no is the answer to that in the case of this enthralling crime heist movie with a modern Western vibe.

Toby (Pine) and Tanner (Foster) are the criminals in question, brothers who have remained close even after Tanner has had some spells in prison. The pair are in severe financial trouble and so in their desperation, they hatch carefully hatched plans to rob some local banks in order to stay afloat. However their deeds unsurprisingly begin to attract unwanted attention on their part and it is up to a Texas Ranger, played wonderfully by Jeff Bridges to investigate and foil their schemes.

The script from Taylor Sheridan, who also wrote last year’s Sicario, is absolutely tremendous. The winner of the 2012 Black List, it certainly borrows elements from movies in this genre. It is hard to not see the very obvious comparisons to the Coen brothers’ No Country for Old Men. That being said, it certainly holds its own as an excellent and riveting piece of storytelling. Though the brothers are far from perfect human beings, one certainly being far more unlikable than the other, it does a splendid job of making you want to root for these guys even in spite of the crimes they’re committing. Even when the rozzers soon start to piece together their investigation, there is a dilemma, as to whether you want the coppers to catch them or hope that they get away and rebuild their lives.

Pine and Foster are excellent in their roles. You buy their chemistry and even though it is clear Toby has a few misgivings with Tanner, their relationship and love for each other as brothers is absolute. Pine in particular has made his name as Captain James Tiberius Kirk, but here he arguably gives the finest performance of his career. Yet more could have done to flesh out and give bones to the brothers’ back story, as it could have been touched upon in a bit more detail. Bridges, in a very similar role to his eye patch wearing, half mumbling performance as Rooster Cogburn from the 2010 remake of True Grit, brings his very unique and very funny sense of humour to his role as the Texas Ranger, even if he is a bit hard to understand in places. The back and forth between him and his partner (Gil Birmingham) certainly provides the laughter. Yet it is the leading men who undoubtedly steal the show and don’t be surprised to see potential award nods come their way.

After directing Starred Up, David Mackenzie does a tremendous job of bringing this gritty story from Sheridan’s screenplay to the big screen. The cinematography is majestic with some tremendous wide and panoramic shots of the Eastern New Mexico landscape, cleverly doubling up as Texas. These are fused brilliantly with the scenes that take place in the town. In addition, the bank robbery scenes are masterfully executed, ensuring the tension and suspense is maintained right throughout. The movie does lag in parts as it is a slow paced film, the cat and mouse chase that ensues from the first bank robbery scene combined with brilliant performances and a first rate score. All of the aforementioned elements ensure that the film stakes its claim as an awards contender as awards season starts to come into view.

Tremendous performances from Foster and Bridges, with arguably a career high from Pine, combined with a tense and superbly written script. Come hell or high water, you should definitely see this film!

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Posted in 2010-2019, Film Review

True Grit (2010)

Posted on by Martin: Through the Silver Screen
True-Grit
Image rights belong to Skydance Productions, Mike Zoss Productions, Scott Rudin Productions and Paramount Pictures

True Grit – Film Review

Cast: Jeff Bridges, Matt Damon, Josh Brolin, Hailee Steinfeld

Directors: Joel and Ethan Coen

Synopsis: A young woman (Steinfeld) seeks revenge for the murder of her father and enlists the help of a US Marshal (Bridges) to help track down her father’s killer.

Review: Remakes and retelling of stories we have seen before tend to have something of a curse upon them. Audiences may tend to moan and whine and say that the new effort to tell a story that has already been told is not worth telling. Well Messrs Joel and Ethan Coen might just have something to say about that, as their retelling of the novel of the same name by Charles Portis, which was first adapted for the big screen in 1969, is well, a remarkable triumph.

The story focuses on young Mattie Ross, a girl of 14 years of age, who after her father is murdered by an outlaw, seeks vengeance on her father’s killer. To do this however, she must enlist the help of the law in the shape of US Marshal Rooster Cogburn and Texas Ranger LaBoeuf, and so begins a manhunt. The Coens certainly showed that they understood the Western genre with the thrilling No Country for Old Men, albeit that was a Western set in modern times. Here however, it’s a traditional western tale fused with good ol’ fashioned revenge, and the Coen brothers absolutely nail it once again with a terrific story and a wonderful screenplay, that is aided in no small part by the phenomenal performances of its actors, and the quality of the source material.

In the lead role of Rooster Cogburn, a role that won John Wayne an Academy Award, Jeff Bridges is excellent as he re teams with the directors that brought to life one of the most iconic film characters of all time, that’s the Dude man! His accent is very thick and a little bit hard to understand in places, and while he may have been a bit hostile towards her in the early stages, his relationship with Ross is ultimately what drives the story forward and their chemistry is excellent. Speaking of which, Steinfeld as Ross is also fantastic, in what was an incredible breakthrough performance after she beat well over 15,000 people for the role. Matt Damon also puts in a superb performance as the Texas Ranger but it is the work of Bridges and especially Steinfeld that steal the show, as the two of them ensured Oscar nominations for Best Actor and Best Supporting Actress respectively came their way, and well deserved ones too.

As usual with the Coens, the film making here is of a very high quality,  the cinematography by frequent Coen collaborator Roger Deakins is as usual glorious. Night time scenes feel realistic and one can almost feel the cold of winter as the Marshal and his employer set off and encounter some of that pesky snow. Deakins certainly knows how to set up a good shot and there are plenty of these packed throughout the movie, with the Coens once again showing they certainly know how to direct remarkable action sequences that are sure to leave the viewer on the edge of their seat.

The Coens certainly know how to leave their unmistakeable stamp on a project, as they did so in emphatic fashion with No Country for Old Men, and here they do so again. As well as the acting nominations, the film secured eight other nominations, and while it failed to secure any, make no mistake, this adaptation, likes its characters certainly is full of true grit, and of a very high calibre to rank itself as one of the finest films the Coens have ever put to the big screen.

Anchored by two tremendous performances from Bridges and Steinfeld, with a great story stamped with that distinctive Coen brothers seal, top drawer film making. 

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Posted in 2010-2019, Film Review

The Hateful Eight (2015)

Posted on by Martin: Through the Silver Screen
Hateful eight
Image rights belong to The Weinstein Company and FilmColony

The Hateful Eight – Film Review

Cast: Kurt Russell, Samuel L Jackson, Jennifer Jason Leigh, Walton Goggins, Bruce Dern, Tim Roth, Michael Madsen, Bruce Dern, Demián Bichir

Director: Quentin Tarantino

Synopsis: When eight strangers become trapped in a lodge during a ferocious blizzard in Wyoming, USA, a mystery begins to unfold as to whether some people are who they say they are.

Review: When you walk into a film written and directed by the one and only Mr Quentin Tarantino, chances are you know what to expect. After all he is a man who has made his name in Hollywood for his extremely well written characters, excellent dialogue, and some VERY bloody violence. All are on show and then some with his eight feature film, which is his second Western after the glorious Django Unchained, which happens to be his highest grossing film of all time.

While Django was set pre Civil War, Mr Tarantino takes us post Civil War in this film, with the focus being on a group of individuals (eight in total funnily enough) who get acquainted with one another while they are trapped in a small building during the blizzard that has set them back on their way. Yet immediately something is off, the suspicion and mistrust begins to grow amongst the characters, as some have doubts as to whether they are who they are claiming to be. There’s a mystery that needs to be solved and it isn’t long before things start to get a little bit messy.

Tarantino is one of the finest directors working today, his movies are synonymous with terrific writing, sharp dialogue and very strong characters. All of the ensemble cast truly shine in their roles with each and every one of them giving truly excellent performances. However, there are a couple of performances that truly deserve special praise and could well be in with a shot of picking up some awards. Principally, Tarantino regular Mr Samuel L Jackson and Jennifer Jason Leigh give arguably the best performances of this incredibly talented cast, but that should take nothing away from all of the other performances, because they are all superb. It is at times a very dialogue driven film, but this is not a problem,  because the dialogue is so riveting and so well written, that the audience is captivated the entire time, watching these characters interact and develop distrust and suspicion.

As is the case with nearly all of Tarantino’s films, the great acting is matched with great writing, and the Hateful Eight is no exception. In this over three hour story, the first hour or so is all build up, getting to know the characters, meeting them one by one. The tension here remains at a minimal level, but there is not exactly a warm feeling between anybody. The early build up is a little slow, until we get to Minnie’s Haberdashery, and that’s when any warm feelings are immediately turned as cold as the weather outside, and the tension and suspicion gets stronger with each passing minute of screen time. Tarantino does enjoy some good monologues and there’s a few to be witnessed here. It wouldn’t be a Tarantino movie if there was no violence and when the axe finally drops and it begins, boy does it provide some glorious and bloody entertainment for the audience and then some!

The cinematography on show, provided by another frequent Tarantino collaborator Robert Richardson is gorgeous, capturing the setting of a chilling winter in the USA perfectly. The audience feels the freezing temperatures the characters find themselves in. The score composed by Ennio Morricone is also equally superb. Like with The Revenant, this cannot have been an easy shoot for the cast and for the crew, but for all the troubles of everyone involved, it was all worth it to deliver another extremely good film from Tarantino that is sure to receive a bunch of Academy Award nominations in this upcoming awards season, and they would be very well deserved ones at that.

A little slow in the early stages, but it pays off big time in the end, with superb writing, tremendous acting, terrific directing, and a top score. Another superb edition into the near perfect filmography of Quentin Tarantino.

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Posted in 2010-2019, Film Review

Django Unchained (2012)

Posted on by Martin: Through the Silver Screen
Image rights belong to Columbia Pictures and The Weinstein Company

Django Unchained – Film Review

Cast: Jamie Foxx, Christoph Waltz, Leonardo Di Caprio, Kerry Washington and Samuel L Jackson

Director: Quentin Tarantino

Synopsis: A freed slave sets out on a mission to  rescue his wife from the clutches of a crooked slave owner, aided by a German dentist turned bounty hunter.

Review: In his latest work, director Quentin Tarantino again gives his audience another thrilling spectacle of blood and revenge. Like Inglorious Basterds, Tarantino sets his latest story in a historical context. With the former set in the World War II era, Django Unchained is set in the Deep South of the United States, with the slave trade and shortly before the outbreak of the Civil War.

All the film’s principal cast play their roles to perfection. Special mentions go out to Foxx and Waltz. Foxx delivers a powerful performance, as he goes from being a really timid and weak slave to a confident bounty hunter under the guidance of his German partner. Another stellar performance also comes from Waltz in his second film with Tarantino, the first being Inglorious Basterds. His performance here, like in Basterds, was one in the Austrian excelled and landed him the Oscar for Best Supporting Actor for the second time, a rare achievement in Hollywood. Waltz and Foxx have great chemistry on screen and as the film develops, their partnership only gets stronger. Leonardo DiCaprio also excels in his role as Calvin Candie, the cruel and brutal owner of the plantation on which Django’s wife is held in captivity. Similarly, Samuel L Jackson, plays Candie’s fiercely loyal house slave, Stephen, and again, the performance by Jackson was incredible.

While Candie, initially appears to be the film’s main villain, it could be said that it is Stephen who plays the main antagonist. His relationship, or lack of it with Django is almost instantaneously hostile and only worsens as the plot develops. Meanwhile, the camaraderie between Stephen and Candie is fascinating to watch as Stephen is forever lurking over his master’s shoulder like a predator that is lurking, waiting for the right moment to pounce on its prey. The dialogue between the main characters is outstanding.

In true Tarantino style, the film has some very violent moments, some of which may cause the viewer to wince in horror. Yet, at other times, the violence is at times somewhat over the top, or excessive. Yet the violence is Tarantino’s signature piece and he delivers in emphatic style with some great action sequences. Nevertheless, the films offers moments that will keep you glued to your seat, or maybe hiding behind the couch in fear. However, the film offers comedy value and it has its comedic moments that will get the audience laughing. The length of the film may put some people off, as Tarantino films have had tendencies to drag on for a little bit too long. However, with Django Unchained, every minute counts and is important to the plot.

Another top drawer aspect of this film, as with many Tarantino films, is the soundtrack. With the likes of John Legend, Jerry Goldsmith, 2pac and Luis Bacalov, the soundtrack delivers the tone of each scene perfectly and hats off to Mr Tarantino for that. However, along with some criticism over the violence, the constant use of the N word in this film is another aspect has attracted a lot of disapproval from some viewers. In spite of this, Django Unchained is a terrific film and in my opinion, is Tarantino’s best yet. The character development, particularly Django’s is just superb. Similarly, the acting is fantastic all round with some terrific action sequences and a superb soundtrack. Waltz deserved his second Oscar for Best Supporting Actor.

Tarantino deserved his second Oscar for Best Original Screenplay. Without doubt, it is a film that breaks boundaries, and goes places where some directors would not dream to go. It is controversial of course, but controversy and Quentin Tarantino practically go hand in hand. The film delivers on all fronts and it is a must see.

With top notch performances, excellent directing, a funny and sharp script, with over the top violence, this is Tarantino at his very best. 

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