Showing posts with label Chiwetel Ejiofor. Show all posts
Showing posts with label Chiwetel Ejiofor. Show all posts

Wednesday, 4 February 2026

Movie Review: The Life Of Chuck (2024)


Genre: Drama  
Director: Mike Flanagan  
Starring: Tim Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mia Sara, Mark Hamill, Jacob Tremblay  
Running Time: 111 minutes  

Synopsis: The plot unfolds in reverse chronological order, starting with Chapter Three. School teacher Marty (Chiwetel Ejiofor) and his ex-wife Felicia (Karen Gillan) experience the end of the world, but with weird billboards and posters proclaiming "Charles Krantz: 39 Great Years!". In Chapter Two, Chuck (Tom Hiddleston) is an accountant attending a conference. He encounters a drummer busker and dances up a storm, joined by the recently dumped Janice (Annalise Basso). In Chapter One, Chuck is an orphaned boy being raised by his grandparents Sarah and Albie (Mia Sara and Mark Hamill). Sarah teaches him to love dancing, while Albie encourages Chuck to pursue accounting as a career.

What Works Well: Adapting a Stephen King short story, writer and director Mike Flanagan unfurls a simple narrative with a deep commitment to the essence of being human. Chuck's whimsical journey sparkles with insights, sometimes subtle, at other times profound, linking one (and every) individual with the greater universe. Inspired by Carl Sagan's Cosmic Calendar and Walt Whitman's I contain multitudes, Chuck is nobody important and everybody who has ever lived, loved, lamented, and experienced unexpected moments of sublime perfection on the uncertain path to a singular certainty.

What Does Not Work As Well: The middle chapter could have been longer beyond the centrepiece dance sequence, and the childhood chapter may have benefitted from a proportionate trim.

Key Quote:
Chuck: I will live my life until my life runs out.



All Ace Black Movie Blog reviews are here.

Wednesday, 24 December 2025

Movie Review: The Old Guard (2020)


Genre: Superhero Action  
Director: Gina Prince-Bythewood  
Starring: Charlize Theron, Matthias Schoenaerts, Chiwetel Ejiofor  
Running Time: 125 minutes  

Synopsis: Andy (Charlize Theron) leads a secretive small group of immortals including Booker (Matthias Schoenaerts), Joe, and Nick, as they travel the world attempting to do good. After escaping an ambush organized by ex-CIA operative Copley (Chiwetel Ejiofor), the immortals sense the presence of a new member, US Marine Nile (KiKi Layne). Andy recruits her into the group as they pursue revenge on Copley, but he is part of a larger conspiracy involving pharmaceutical CEO Merrick (Harry Melling).

What Works Well: The adaptation of a comic book series boasts sparking globe-trotting production values, Charlize Theron in a fully committed kick-ass mode, and expertly choreographed combat scenes. The quiet interludes feature welcome attempts to humanize the characters with back-stories. 

What Does Not Work As Well: Superhero concepts eliminate jeopardy at the best of times, and here the immortals are bullet sponges (with wildly variable recovery times from bullet impacts), casting no doubt on the outcome of any battle. They can be captured (their worst nightmare) to suit the whims of the plot, but the reflections on loneliness across the centuries are samey across the group. The one key double-cross plot twist is inconsistent with the narrative fundamentals, and the pharmaceutical ultra-villain is unfortunately of the unhinged cartoonish variety.

Key Quote:
Booker (about Andy): That woman has forgotten more ways to kill than entire armies will ever learn.



All Ace Black Movie Blog reviews are here.

Sunday, 12 October 2025

Movie Review: Four Brothers (2005)


Genre: Revenge Crime Action  
Director: John Singleton  
Starring: Mark Wahlberg, Tyrese Gibson, Andre Benjamin, Garrett Hedlund, Terrence Howard, Chiwetel Ejiofor, Sofia Vergara  
Running Time: 109 minutes  


Synopsis: In Detroit, well-loved Evelyn Mercer is killed during a violent convenience story robbery. Her four adopted sons Bobby (Mark Wahlberg), Angel (Tyrese Gibson), Jerry (Andre Benjamin), and Jack (Garrett Hedlund), all of them rescued by Evelyn from foster homes, convene to grieve. The brothers soon spot inconsistencies in the official police narrative about Evelyn's killing. Their probing uncovers evidence of police and political corruption and involvement by gang boss Victor Sweet (Chiwetel Ejiofor).

What Works Well: This is a rough-and-tumble story of brotherhood, director John Singleton looking for the ties that bind misfit siblings shaped by Detroit's tough streets. Bobby (audacious and two-fisted), Angel (more cerebral), Jerry (business-oriented), and Jack (withdrawn and most traumatized but likely the smartest) are a lively set, and together they unleash unconstrained mayhem, as much on each other as on their enemies. A strong cast is augmented by Sofia Vergara as Angel's girlfriend (and imagine the toughness required to co-exist with his brothers), Terrence Howard as police detective Green, and Chiwetel Ejiofor as the cold-blooded villain.

What Does Not Work As Well: The tone and balance are never quite right. Banter, hijinks, and voluminous shouting threaten to overwhelm the convoluted plot and routinely over-the-top action scenes. The final double-headed showdown is both logically muddled and lackluster in execution.

Key Quote:
Green (to Bobby): You keep knocking on the devil's door long enough and sooner or later someone's gonna answer you.


All Ace Black Movie Blog reviews are here.

Saturday, 4 December 2021

Movie Review: Locked Down (2021)

A pandemic drama, comedy and heist adventure, Locked Down tries to do too much and with only the faintest idea of how to tie together a scattershot of themes.

In London, Linda (Anne Hathaway) and Paxton (Chiwetel Ejiofor) are a separated couple but still living together under a Covid-19 lockdown. She is the head of a marketing company's London branch, while he is a poetry-loving delivery van driver, his career prospects truncated by a stint in prison ten years ago. 

The pandemic and isolation have pushed Paxton to the brink of suicidal thoughts, while Linda is back to smoking and drinking too much wine, and is forced to furlough many of her staff members. Paxton's boss Malcolm (Ben Kingsley) offers him a chance at redemption plus some extra money, and his surreptitious delivery assignment dovetails with Linda's firm arranging the transfer of a precious jewel from the Harrods department store. Suddenly, the troubled couple can plot an almost victimless heist.

One of the first attempts to weave the pandemic's impacts into a cinematic narrative, Locked Down stumbles early into a needless representation of on-going turbulence. Director Doug Liman and writer Steven Knight never find the justification to recreate on the screen the drudgery of Zoom calls, patchy WiFi, overbearing loneliness, and exasperated honesty, at a time when all the pandemic's unfortunate attributes remain a daily reality.

Somehow the movie stretches to 118 minutes, the first two thirds unfolding like a two-person stage show. Linda and Paxton sift through the wreckage of a relationship troubled before Covid and pushed over the edge once the pandemic abruptly forced a reckoning of continuous close-quarters co-habitation. They engage in half-conversations, either honest or truncated, somewhere between arguing and cleansing their souls, and five minutes later, repeat.

The final third drops-in a most half-hearted heist, and Locked Down waves meekly at some thriller elements, never coming close to convincing. By this point Hathaway and Ejiofor are lost in the space between trying too hard and not trying at all, stumped by a lack of direction in both the personal dynamics between Linda and Paxton and the make-it-up-on-the-fly tour of Harrods, disguised as a theft.

Ben Kingsley's small supporting role as Paxton's religious yet unscrupulous boss is a good source of humour, while Stephen Merchant, Mindy Kaling, and Ben Stiller offer mostly Zoomed-in contributions. 

Locked Down tries to find comedy, pathos, drama, romance, and thrills in a pandemic context, and not surprisingly, delivers only sad approximations.



All Ace Black Movie Blog reviews are here.

Saturday, 30 January 2021

Movie Review: Secret In Their Eyes (2015)

An investigative crime drama and romance, Secret In Their Eyes boasts a spectacular cast but is needlessly complicated and coldly uninvolving.

Ex-FBI Agent Ray Kasten (Chiwetel Ejiofor) returns to Los Angeles and reconnects with former colleagues Claire Sloan (Nicole Kidman), now the District Attorney, and Agent Jess Cobb (Julia Roberts). Ray is seeking Claire's permission to pursue a man called Marzin (Joe Cole), a suspect in an unsolved murder with a personal connection to Ray and Jess. Flashbacks reveal events from 13 years prior. In the shadow of the September 11, 2001 terrorist attacks, Ray and Jess are tasked with monitoring a mosque-based cell, where their colleague Agent Siefert (Michael Kelly) is running an informant. Ray is also attracted to Claire, a lawyer newly appointed to the Los Angeles office. 

The surveillance operation is disrupted when Jess's daughter Crystal is murdered and suspicion falls on Marzin, a member of the mosque community revealed to be Siefert's snitch. District Attorney Morales (Alfred Molina) prioritizes counter-terrorism ahead of solving the murder, leaving Ray frustrated and Jess disillusioned. Now more than a decade later Ray is back for another attempt at capturing Marzin, and he also rekindles his relationship with Claire.

Secret In Their Eyes has too much going on, and also not enough. Billy Ray directs his own script, and while the ambition to cast a personal quest against seminal events is apparent, this is a muddled story always emphasizing the wrong thing. With a backdrop of history's worst terrorist atrocity and then the murder of an FBI agent's daughter, the stuttering romance between Ray and Claire repeatedly gets in the way. She is a cool, cold and calculating lawyer, he is a scrappy field agent, the chemistry never materializes, but Ray keeps on trying.

Meanwhile Julia Roberts finds herself deglamourized and shoved to a background role. Little is revealed about Jess and less is known about her murdered daughter, leaving an emotional void around the central mystery obsessing Ray for 13 years. Marzin as a generic and ill-defined bad guy adds to the impressive blankness.

The constant time jumps make matters worse. Only minor hairstyle changes help differentiate the scenes in the present from those in the past, and with Ray pursuing Marzin in both timeframes, it is often confusing to keep track. And even the action scenes are a let down. On multiple occasions Ray gets close to Marzin, triggering routine confrontations with the same outcome, investigative work undone by operational ineptitude.

Ejiofor, Kidman and Roberts are never less than watchable, but Secret In Their Eyes is a tractionless waste of talent.



All Ace Black Movie Blog reviews are here.

Saturday, 30 November 2019

Movie Review: Triple 9 (2016)


A crime thriller, Triple 9 features stellar action set-pieces, but also a large cast struggling against a convoluted and context-free plot.

In Atlanta, Michael Atwood (Chiwetel Ejiofor) leads a gang of ex-military types conducting high-risk heists for Russian crime lord Irina Vlaslov (Kate Winslet), who holds Michael's young son as leverage. He calls upon corrupt cops Marcus (Anthony Mackie) and Franco (Clifton Collins Jr.) to join his crew to steal a bank safety deposit box. Detective Jeffrey Allen (Woody Harrelson) starts to investigate, while Irina demands Michael immediately start planning a follow-up theft of critical records from a Homeland Security building.

Jeffrey's nephew Chris (Casey Affleck) is an honest cop and Marcus' new partner. They tangle with a group of tough street gang members, including Luis Pinto (Luis Da Silva). To create a diversion for the Homeland Security heist, Michael's crew decide an "officer down, code triple 9" incident is required to draw police resources to the wrong side of town. Chris is selected as the victim to be shot, but little will go according to plan.

Triple 9 features three well-executed action set-pieces, neatly placed at the start, middle and near the end of the film. The first establishes the pace with Michael's gang pulling off the audacious bank break-in followed by an insane car chase. The second is an incidental but still impressive house search followed by a street chase and fire fight as Chris and Marcus go after a member of Pinto's gang in a hostile neighbourhood. And the finale is the double whammy of the code triple 9 incident overlapping with the Homeland Security theft.

In these scenes director John Hillcoat excels in delivering cohesive thrills, but the film struggles during all the in-between sections. The Matt Cook script drops in on all the characters essentially mid-flight and never pauses to set a meaningful context. The people, places and relationships are sketched in using the broadest of strokes, and as a result it is exceptionally difficult to care about any of them.

The central plot supposedly driving all the action involves the evil Irina attempting to free her barely-seen but highly influential husband from an overseas prison by getting her hands on some vaguely defined records, a classic example of a hastily slapped together, needlessly complicated yet still utterly flimsy MacGuffin.

The effort to portray Michael as a victim lands with an unconvincing thud, his semi-hostaged child (the mother is Irina's more chill sister Elena, played by Gal Gadot) a lame device to garner sympathy. Chris is supposed to emerge as the honest core of the story but he is dramatically under-defined, while a myriad of greasy bad guys, bad cops, and bad guys who are ex-cops, all with labyrinthine personal connections, clutter the screen. By the time it becomes clearer who is who, most of them are dead anyway.

Woody Harrelson adds his distinctive brand of caring by not caring, here as a drug-addicted detective unpeeling the rash of daring heists, while Kate Winslet's turn as a Russian mob boss borders on cartoonish.

Triple 9 does feature a triple header of accomplished highlights, but these are strung together with saggy material.






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Monday, 3 July 2017

Movie Review: Z For Zachariah (2015)


A post-apocalyptic drama, Z For Zachariah explores the quiet dynamics between three survivors.

An unspecified event has wiped out most of humanity from the face of the earth. Somewhere in the southern United States, Ann Burden (Margot Robbie), a resilient young woman, survives on her own in a small lush valley mysteriously spared from the ravages of radiation. One day she stumbles upon fellow survivor John Loomis (Chiwetel Ejiofor) and nurses him back to health. John helps Ann with her farming efforts, and develops a plan to generate hydroelectric power from a contaminated waterfall.

Ann was brought up in a deeply religious household while John is more of a non-believer, but they get along and grow close. Their domestic bliss is disrupted when Caleb (Chris Pine), another survivor, walks into their valley. Ann is welcoming, John is suspicious, and gradually sexual tension develops within the triangle of survivors.

Directed by Craig Zobel and written by Nissar Modi as an adaptation of a book by Robert C. O'Brien, Z For Zachariah contains plenty of food for thought. The idea of a small pocket of land remaining untouched while the rest of the landscape is devastated by radiation is an intriguing premise, while the tentative rebuilding of societal relationships between a few people who may be partially carrying the burden of repopulating Earth is rich with possibilities.

Zobel builds the story up slowly, introducing each of the three characters in turn, and only upon their entry into the green valley. Ann is initially the only resident, then she finds John and helps him survive, and then their tiny society is interrupted by Caleb. The communal tensions are reset with every new arrival, as the backdrop of devastation starts to take a backseat to the complications of one becoming two and then three.

Even in a group this small, familiar disruptive issues quickly emerge, including the clash between religion and science, as well as racism, sex and jealousy. John's plan to build a power plant would mean dismantling the small church that holds special meaning for Ann. Caleb and Ann are the same race and maybe closer in age; when they start to get close, John feels emotionally abandoned.

This familiarity of themes also weakens the film's final act. Caleb's introduction tilts the film towards domestic drama with less emphasis on the setting and more focus on the well-worn narrative of envy within triangular tensions.

Margot Robbie remains at the centre of the film throughout, and her accomplished performance holds the drama together during both the survival and emotional scenes. Ejiofor and Pine have less to do but provide able support.

Z For Zachariah creates a new small garden of Eden on a destroyed planet, but not surprisingly, given a chance at a new start the human tendency for mischief and mistrust stays the same.






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Saturday, 8 April 2017

Movie Review: Children Of Men (2006)


A shockingly plausible dystopian vision of the near future, Children Of Men is a stunningly executed drama thriller filled with a grim pessimism and just the faintest spots of human hope.

It's 2027, and the world has descended into anarchy. For unknown reasons all women are infertile, and the last human birth occurred 18 years prior. England is trying to maintain a semblance of civility but is ruled by an authoritarian, anti-immigration regime struggling to contain a terrorist campaign waged by a resistance group calling themselves The Fishes. Former activist turned bureaucrat Theo Faron (Clive Owen) is contacted by his ex-wife Julian Taylor (Julianne Moore) for help. She is a leader within the resistance movement, and her group has stumbled upon illegal immigrant Kee, who is shockingly pregnant.

Julian wants Theo to escort Kee to the coast and the safety of a shadowy group known as The Human Project. Despite help from Julian's second-in-command Luke (Chiwetel Ejiofor), it's quickly apparent that the mission is compromised. Theo and Kee seek refuge with his only friend Jasper Palmer (Michael Caine), as the more militant members of the resistance recognize the symbolic value of Kee and decide to exploit her to whip up a full fledged rebellion.

An adaptation of the P.D. James book directed and co-written by Alfonso Cuarón, Children Of Men is masterpiece of despondency. The film stares at a future at once familiar and terrifying, and does not even pretend to offer much belief that things can or will get better. This is a story of people crushed by a combination of environmental and human-made catastrophes, a chilling reminder that there are no inherent guarantees that civilization will always move forward.

Cuarón draws a line under the vision by deploying a distinctive colour palette dominated by depressing greys and sickly green-browns. From the concrete buildings to the dark skies and unhealthy rural landscapes, nature appears to have turned off its happiness mode and imposed a blanket of gloom over England. The people respond in turn with a resigned surrender, the purpose of life no longer clear when life itself can no longer be created.

Working with cinematographer Emmanuel Lubezki and co-editor Alex Rodríguez, Cuarón creates majestic illusions of long single-take scenes. The camera work is fluid, the action choreographed with uncommon artistry. The final, most outstanding seemingly unedited sequence is nothing short of breathtaking, more than 6 minutes of Theo moving through a chaotic battle scene, trying to find Kee as government troops battle the rebels in a grim urban landscape, finally moving into a large building populated by huddled and terrified illegal immigrants trying to survive the mayhem.

Children Of Men is Theo's story, but the reawakening of his activist roots is juxtaposed with a background that tells the broader drama of human wretchedness, raising the question as to whether there is anything worth saving. Kee's pregnancy may be a one-off or a glimmer of light, but the carnage on the streets of London, supposedly still under government control but nevertheless gripped by bombings, the misery of people stacked into cages and the military commanding the streets, asks whether humans deserve a second chance.

Clive Owen delivers one of his finest performances, his weathered face a perfect fit for the downcast government employee reluctantly nudged back into a conflict he very much wanted to leave in his past. Michael Caine adds the only touch of irreverent animation, Jasper Palmer a bit too old to care, living off happier memories and present drugs to see out his tenure.

Children Of Men looks into the human mirror, and finds the meticulous darkness of the soul.






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Wednesday, 28 October 2015

Movie Review: The Martian (2015)


A space survival and rescue drama, The Martian is an epic odyssey. The film celebrates science, resiliency and innovation under pressure, in a graceful, visually rich package.

In the relatively near future, the crew members of the Ares III mission, under the command of Melissa Lewis (Jessica Chastain), have established a temporary base on Mars and are conducting scientific experiments. An unexpectedly severe Martian storm descends on them suddenly, forcing a quick evacuation. In the darkened confusion, crew member Mark Watney (Matt Damon), the mission botanist, is struck by debris, assumed dead, and left behind. But Mark is very much alive, just temporarily knocked out, his space suit damaged to falsely indicate no vital signs. He is completely alone on Mars.

Once Mark takes care of his puncture wound, he realizes that he will soon run out of food, and starts the process of planting his own nutrition. He puts his botanist skills to use, creates soil from packets of human waste, water by mixing hydrogen and oxygen, and is soon harvesting new potatoes. He eventually re-establishes contact with NASA back on Earth. NASA Director Teddy Sanders (Jeff Daniels) has to explain to an astounded public why a man was abandoned on Mars. Sanders then gets to work with Mars Mission Director Vincent Kapoor (Chiwetel Ejiofor), Flight Director Mitch Henderson (Sean Bean) and a team of scientists and contractors to concoct an on-the-fly resupply plan until a manned rescue mission can be prepared. Meanwhile a debate rages as to whether Lewis, her pilot Rick Martinez (Michael Peña), and the rest of the Ares III crew, still on the return flight to Earth, should be told that Mark is alive.

Director Ridley Scott again returns to space to create another cinematic classic. An adaptation of the Andy Weir book, The Martian is a grand, feel-good, gorgeously filmed space adventure, celebrating the human spirit and ingenuity in the face of adversity. Cinematographer Dariusz Wolski and the special effects team create an astoundingly beautiful yet desolate Mars, while Matt Damon and the rest of the cast bring to life unforgettable characters.

At over 140 minutes, this is an interplanetary story told with both breadth and depth. For the most part Scott takes his time to explain what Mark is up against on Mars and the science behind every step he takes to survive, while similarly tracking NASA's frantic efforts back on Earth to first get to grips with the situation and then devise an extraordinary rescue. Some plot points are glossed over, but overall, the film exudes the confidence of an adventure that soars in space but is grounded by reality.

The story of The Martian mixes familiar elements from other excellent films where individuals face great tests of survival. The abandonment theme in a strange environment with minimal resources carries echoes of Cast Away (2000), the lost-in-space premise was explored in Gravity (2013), the small group risking everything to save one of their own was the central premise of Saving Private Ryan (1998), and space mission innovation under pressure was highlighted to great effect in Apollo 13 (1995).

But The Martian creates its own identity thanks to a smart script by Drew Goddard, firmly grounded in science and steering well clear of any antagonists. There are no melodramatics in The Martian, no evil plots, conspiracies or even hostility on any planet surface. Mars just is what it is, Mark just is where he is, and the story of adaptation and rescue unfolds with simplicity and minimal fuss.

In 3D, the film is marvel to look at, with awe-inspiring red Marsscapes, Mark and his meagre equipment often a dot set against a vast, empty, quiet and beautiful expanse. But despite the majestic scenery, Scott keeps the focus firmly on the people, and The Martian is a straightforward narrative of one man, first innovating to fend off starvation, then innovating to survive long enough to give his rescuers a half chance. The deployment of science expands from Mark alone, to Mark assisted by NASA, and then unexpected allies are found in the unlikeliest of places, and the effort to save one man spans the multicultural globe. It is a hopeful, perhaps idealistic stance, but the film is unapologetic in presenting the best that humanity can offer, from individual strokes of genius to nations sweeping away mistrust and offering a helping hand - or rocket.

Matt Damon acts on his own for most of the film, and delivers one of his career-defining performances. Generally speaking to inanimate cameras, Damon is perfect in bringing to life Mark Watney, an enduring film hero facing unimaginable loneliness and the near certainty of death, but who simply refuses to yield to a seemingly insurmountable survival challenge.

The rest of the cast is sound, with Jessica Chastain and Michael Peña exploding to life in the final third as Mark's crewmates take it upon themselves to execute an audacious rescue mission. Kristen Wiig as a NASA communications advisor, Kate Mara as a member of Lewis' crew, Donald Glover as a scrappy astrodynamicist and Mackenzie Davis as a NASA satellite tracker get small but still prominent and sometimes crucial supporting roles.

The climax of the film is thrilling, but also pushes towards the edges of credibility, as the pace of on-the-fly problem solving accelerates to almost manic levels. But despite all the technology, elegant space crafts and silent planets, at the end it is the human connection that triumphs. The Martian finds deliverance with an elegantly clumsy dual pirouette and then a small bump in space, humans reconnecting, eliminating the distance between them, and embracing the closeness that makes us stronger together.






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Saturday, 1 November 2014

Movie Review: Inside Man (2006)


A multilayered bank heist drama, Inside Man is a slick thriller with an intricate plot, plenty of twists and a clutch of interesting characters.

Disguised as painters, a heavily armed gang led by Dalton Russell (Clive Owen) take control of a bank in Manhattan. All customers and staff are held as hostages and forced to wear painters' overalls, making it difficult to differentiate between hostages and criminals. Police captain John Darius (Willem Dafoe) and his men secure the area and set up a command post, while detectives Keith Frazier (Denzel Washington) and Bill Mitchell (Chiwetel Ejiofor) arrive to take control of the negotiations. Eventually Frazier establishes contact with Russell, who first demands food and then a plane, and threatens to kill one hostage per hour if there are any delays.

Respected businessman Arthur Case (Christopher Plummer) owns the bank, and quickly contacts exclusive "fixer" Madeleine White (Jodie Foster) for help. Case wants Madeleine to secure the contents of his personal safety deposit box at the bank before it falls into the wrong hands. Madeleine uses her connections with the Mayor and forces Frazier to cooperate with her. With Russell seemingly in no rush to end the ordeal and always several steps ahead of any police action, Frazier begins to realize that this is not a typical bank robbery. A much bigger game is being played, and none of the normal rules apply.

Perhaps Spike Lee's most traditional outing as director, Inside Man is an excellent film about an exceptionally perfect bank robbery. This is glossy, star-propelled entertainment, mixing bursts of action with mounting tension and an unfolding creative mystery that reaches back to shady bank dealings during Europe's darkest hours.

Inside Man starts off with a chaotic Dog Day Afternoon vibe but quickly moves in a much more cerebral direction, Russell proving to be the antithesis of Sonny. Against the aggressive backdrop of a mass hostage taking by a seemingly brutal gang, the movie settles down to a triangular battle of wits and willpower between Russell, Frazier and White acting on behalf of Case.

Lee ever so gradually peels away the layers of the story to reveal the complex hidden agendas, dropping hints to the emerging puzzle by intercutting the action at the bank with frequent flash forwards, the frustrated detectives Frazier and Mitchell interrogating the mixed-up witnesses and suspects at the end of the ordeal. This is no ordinary robbery, and it's even difficult to separate the victims from the perpetrators. In the context of Case's history and Russell's real objectives, the blurring of the line between aggressor and casualty emerges as a central theme.

Despite the high intellectual content of Russell Gewirtz's script, Inside Man leaves a few key questions unanswered. The relationship between Russell and Case is never explained: how Russell came to know about Case's dark secret, and his motivation for exposing Case, remain unresolved mysteries. The gang members supporting Russell are also ill-defined, and never properly emerge as people from behind the painter overalls and face masks.

The sterling cast lends authority to all the key roles, with Washington and Owen perfectly cast as the detective under a cloud facing up to the criminal holding all the cards with attitude. Foster is appropriately frosty as a high powered puppet master, although the role of Madeleine White is perhaps the most forced aspect of the film.

The film starts with Dalton Russell talking to the camera inside a cell, in what proves to be an unusual confinement. It's the first clue that Inside Man has the inside track towards an astute enigma.






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Tuesday, 31 December 2013

Movie Review: American Gangster (2007)


An epic gangster's tale inspired by real events, American Gangster is a potent mix of low key audaciousness. As told by director Ridley Scott, the story of the rise and fall of drug lord Frank Lucas is quietly absorbing without veering into amplified dramatics.

In Harlem of the late 1960s, elderly local crime boss Ellsworth "Bumpy" Johnson (Clarence Williams III) dies, leaving his loyal driver and assistant Frank Lucas (Denzel Washington) in charge of his fledgling operations. In the meantime, New Jersey police detective Richie Roberts (Russell Crowe) makes himself extremely unpopular by turning in one million dollars worth of crime money that he found in the trunk of a criminal's car. With the police department rife with corruption and officers on the take, Richie's actions mean that he is shunned by fellow officers, while his home life is also falling apart.

Frank is ambitious but prefers to keep a low profile compared to the other flashy criminals trying to fill the vacuum created by Bumpy's demise. Frank spots an opportunity to mass import high quality heroin directly from the jungles of Vietnam on board US military cargo planes, and recruits his extended family, including his brother Huey (Chiwetel Ejiofor) to control the preparation and distribution of the drug under the Blue Magic brand. Frank is soon extremely wealthy and in control of the New York drug market, and marries Puerto Rican beauty queen Eva (Lymari Nadal). The higher quality and lower price of his product cause an addiction epidemic, and also antagonize the established Mafia families represented by Dominic Cattano (Armand Assante).

Richie is invited to lead a specialized anti-drug police unit, and assembles a group of unconventional but effective street-wise police detectives who start to investigate the drug kings of New Jersey and New York. With the impending end of the Vietnam War threatening Frank's supply of drugs, Richie gradually uncovers the remarkable extent of Frank's operations, and starts to look for an informer to bring down the drug empire.

A worthy addition to the collection of grand films about crime as a serious family business, American Gangster has a luxurious scope and monumental stamina. Despite a running length of close to 160 minutes, the film never loses momentum, screenwriter Steve Zaillian keeping two stories moving briskly in parallel, both inspired by exceptional real men but with artistic licence exercised to create a movie event.

Frank's surreptitious rise to the top of the New York drug world is an epic tale of the quiet black American man who out-manoeuvred his competition and dominated the market, peddling misery to the masses while enriching his family. Richie is as remarkable for being the straight cop in a sea of corruption, exorcised for doing his job but finding his calling in the pursuit of drug lords. Scott's challenge is that the two men only meet in the final 20 minutes, and this is handsomely overcome by drawing two trajectories that are clearly destined to come together but that are also robust enough to stand alone.

In a film packed with on-location shooting, Scott recreates Harlem and other New York locations of the late 1960s and early 1970s, a rotting apple where drugs, crime, misery and death flourish in the rampant urban decay. Frank heartlessly takes advantage of the downtrodden within the despair, his obsession with dignity standing in stark contrast with the plague that his neatly packaged heroin unleashes on the residents of his crumbling neighbourhoods.

In support of the excellent Washington and Crowe, American Gangster boasts an impressively deep cast, with small but important roles for Ruby Dee as Frank's mother, Josh Brolin as a corrupt New York City police detective, Cuba Gooding Jr. as a nightclub owner distributing Blue Magic, and Idris Elba as Tango, Frank's rival for control of Harlem after Bumpy's death.

The film is driven by the two main characters and has only one traditional cinematic action scene, a raid on a drug lab. Otherwise the menace of drugs seeping into the pores of society poses a greater threat than any number of chases or shoot-outs. Frank has to eliminate one competitor to make a statement, and he later becomes the subject of a mysterious assassination attempt, but otherwise American Gangster succeeds in creating a depressing canvass where death prevails through the mundane business of addiction rather than combat. As men like Frank Lucas know only too well, controlled, self-administered, and wide-spread violence that is unseen and unheard can be the most damaging - and the most lucrative.






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