Showing posts with label Guy Pearce. Show all posts
Showing posts with label Guy Pearce. Show all posts

Saturday, 18 October 2025

Movie Review: The Woman In Cabin 10 (2025)


Genre: Mystery Thriller  
Director: Simon Stone  
Starring: Keira Knightley, Guy Pearce  
Running Time: 95 minutes  

Synopsis: Investigative reporter Laura Blacklock (Keira Knightley) is invited onto the super yacht of wealthy couple Richard (Guy Pearce) and Anne Bullmer. Also joining the guest list of international elites is Ben Morgan (David Ajala), a photographer and Laura's former lover. They are all assembled to witness Anne's initiation of a charitable foundation before her impending demise from terminal cancer. Laura awakens in the middle of the night to a commotion in the adjacent cabin and thinks she sees a woman overboard and drowning. Despite all the guests and crew being accounted for, Laura doggedly investigates the mystery of the drowning woman, and starts to uncover a conspiracy.

What Works Well: The luxury yacht visuals are satisfyingly saturated with wealth, and Keira Knightley is reliably good as a reporter sniffing the something-is-not-quite-right odour. 

What Does Not Work As Well: The mystery is all too easy to untangle from the clues provided, leaving director Simon Stone with plenty of on-the-water time to kill as the boat sails to its destination. The other guests are steeped in the stereotypical snobbery of rich people behaving badly, and are all consigned to forgettable superficiality. The climax is botched with amateurish staging and close-to-ridiculous character behaviour.

Key Quote:
Ben (to Laura): These people run the world. Don't piss them off.



All Ace Black Movie Blog reviews are here.

Saturday, 28 June 2025

Movie Review: The Brutalist (2024)


Genre: Epic Drama  
Director: Brady Corbet  
Starring: Adrien Brody, Felicity Jones, Guy Pearce, Alessandro Nivola  
Running Time: 201 minutes  

Synopsis: After the end of World War Two, renowned Hungarian architect Laszlo Toth (Adrian Brody) immigrates to the United States, leaving behind his wife Erzsebet (Felicity Jones) and niece Zsofia. A nobody in his new country, Laszlo settles in Philadelphia, where his cousin Attila (Alessandro Nivola) owns a furniture store. A period of struggle ensues, including a falling out with Attila, addiction to opium, and homelessness. Local tycoon Harrison Van Buren (Guy Pearce) learns of Laszlo's pre-war achievements and retains him to design a monumental cultural centre in memory of Harrison's mother. But many difficulties await on the journey from vision to reality.

What Works Well: This is grandiose storytelling with magnanimous cinematography, patient scene-building, and evocative music. Through the travails of one man, director and co-writer Brady Corbet explores the scope and scale of the post-war immigrant experience, here with a focus on a fractured Jewish family. Adrien Brody exudes an exhausted combination of resignation and frustration, Laszlo Toth's prior professional record and the horrors of his wartime experiences counting for nothing in the new world. He is reduced to shoveling dirt and sleeping in a shelter while subjected to the dichotomy of discrimination and wary acceptance. The winding pathway back to self-respect and achievement passes through Van Buren as a complex counterpoint and establishment representative, a wealthy but short-fused and deeply flawed power broker with the potential to both make and break the newcomer.

What Does Not Work As Well: Despite the mammoth length, several key narrative milestones are skipped, leaving behind a sometimes frustrating fill-in-the-blanks structure. The script appears to intentionally zoom in on distractions (the sexual frustrations between the Toths, once reunited; endless admiration of an Italian marble quarry), while dangling then abandoning foundational plot threads (Harrison's grown children are prominent until they are not; Toth's architectural achievements are an exercise in talk a lot but show little).

Key Quote:
Laszlo: Is there a better description of a cube than that of its construction?


All Ace Black Movie Blog reviews are here.

Monday, 5 August 2024

Movie Review: Factory Girl (2006)


Genre: Biographical Drama  
Director: George Hickenlooper  
Starring: Sienna Miller, Guy Pearce, Hayden Christensen  
Running Time: 99 minutes  

Synopsis: Edie Sedgwick (Sienna Miller) comes from a wealthy but troubled family, and in the mid-1960s she relocates from the Boston area to New York. Edie befriends underground artist Andy Warhol (Guy Pearce), who finds her alluring and features her in several of his short independent movies. She achieves celebrity status as a fashion icon despite living beyond her means and developing a drug addiction. An affair with a folk singer (based on Bob Dylan, played by Hayden Christensen) threatens her bond with Warhol.

What Works Well: Edie Sedgwick's fleeting flirtation with stardom as a generational "it" girl is captured in a fever dream of gonzo art, parties, fashion, drugs, and flashing lightbulbs. Captain Mauzner's brisk script recreates 1960s New York as fertile cultural territory for a new wave of icons, but still finds space to contextualize Edie's background and the demons driving her into a destructive lifestyle. In a masterful performance, Sienna Miller finds a seam of vulnerability folding into fame and bedazzlement, and is well supported by Guy Pearce and Hayden Christensen as two legends parlaying notoriety into power.

What Does Not Work As Well: With Andy Warhol and Bob Dylan supplying the jet fuel for Edie's flight to the sun, her story can only exist in their shadow.
 
Conclusion: Dream factories are also full of danger.






All Ace Black Movie Blog reviews are here.

Saturday, 11 May 2024

Movie Review: Spinning Man (2018)


Genre: Philosophical Crime Drama  
Director: Simon Kaijser  
Starring: Guy Pearce, Pierce Brosnan, Minnie Driver  
Running Time: 100 minutes  

Synopsis: Dr. Evan Birch (Guy Pearce) is a Professor of Philosophy with a tendency to desire his female students. When a cheerleader goes missing in the nearby woods, Detective Malloy (Pierce Brosnan) investigates and Evan emerges as a suspect. He denies any wrong doing, but evidence linking him to the disappearance starts to emerge, straining his relationship with his wife Ellen (Minnie Driver). Meanwhile, Anna (Alexandra Shipp) is the latest student attempting to seduce Evan.

What Works Well: Philosophical musings related to memory and truth mix with a standard police investigation of a shifty suspect. Unreliability as a foundation of thought and recollection emerges as an intriguing theme, Guy Pearce embodying uncertainty as either a natural condition or defence tactic. An understated Pierce Brosnan and an increasingly irritated Minnie Driver provide able support.

What Does Not Work As Well: With a limited number of suspects and mounting evidence pointing in only one direction, director Simon Kaijser and writer Matthew Aldrich (adapting a book by George Harrar) desperately needed a good third act, but they miss by a large margin. Incoherent padding leads to a desperate final 15 minutes that unravel into a rushed and unsatisfactory mess. 

Conclusion: Stops spinning just when it matters most.



All Ace Black Movie Blog reviews are here.

Saturday, 9 March 2024

Movie Review: Memory (2022)


Genre: Thriller  
Director: Martin Campbell  
Starring: Liam Neeson, Guy Pearce, Monica Bellucci, Taj Atwal  
Running Time: 114 minutes  

Synopsis: In the Texas-Mexico border region, aging assassin-for-hire Alex Lewis (Liam Neeson) is experiencing early signs of dementia, including memory loss. He refuses an assignment to kill a 13 year-old child trafficking victim and turns against his employers. Meantime, FBI agents Vincent Serra and Linda Amistead (Guy Pearce and Taj Atwal) and Mexico's agent Marquez (Harold Torres) are investigating a child trafficking ring, while wealthy real estate mogul Davana Sealman (Monica Bellucci) exerts influence and hides secrets.

What Works Well: This B-movie almost succeeds in covering up its low budget, aided by investments in side plots like creeping dementia, child trafficking, and high-level corruption. The presence of Liam Neeson (old for the role but functional), Guy Pearce (fittingly bedraggled), and Monica Bellucci (evil but underused) elevates quality, and they are ably supported by a feisty Taj Atwal. Ex-Bond director Martin Campbell keeps the action hopping with multiple converging storylines punctuated by controlled action scenes.

What Does Not Work As Well: The script tries too hard, and eventually becomes cluttered with several seemingly important characters making grand entrances only to be summarily dispatched. The creaky production values are exposed by some throwaway sequences and one glaring discontinuity where a crime scene magically relocates from a parkade to a highway. The rushed ending scatters loose ends all over the screen.

Conclusion: Neither instantly forgettable not terribly memorable.



All Ace Black Movie Blog reviews are here.

Tuesday, 1 January 2019

Movie Review: Memento (2000)


A psychological thriller, Memento hides a reasonably interesting mystery within a deliciously convoluted structure.

Most of the scenes (in colour) unfold in reverse chronological order. The film starts with Leonard (Guy Pearce) killing Teddy (Joe Pantoliano) by shooting him in the head at an abandoned warehouse. Leonard was previously an insurance investigator, but is now suffering from anterograde amnesia (short-term memory loss and the inability to form new memories), caused by a blow to the head and shock incurred on the night his wife was raped and killed.

He functions by writing notes to himself, taking Polaroid shots of important people and events, and tattooing crucial messages on his body. Leonard has been on the hunt for a man known only as "John G.", believed to have been his wife's assailant. Information revealing Teddy's real identity as John G. was provided by bartender Natalie (Carrie-Anne Moss). Earlier, Leonard helped Natalie deal with a shady man named Dodd (Callum Keith Rennie). But with Leonard unable to retain any facts, everything may not be as it seems.

In interspersed black and white scenes, Leonard is in a hotel room and on the phone with an anonymous caller, describing one of his insurance cases: a man named Sammy Jankis also suffered from anterograde amnesia, and his diabetic wife had great difficulty coping with her malfunctioning husband.

Written and directed by Christopher Nolan at the helm of his first big budget feature film, Memento is a gritty neo-noir thriller anchored by a murder mystery and featuring a deeply flawed hero, a dangerous brunette, an untrustworthy cop, an assortment of unsavoury characters, and a seedy motel.

Within a traditional narrative structure the film may have been above average but familiar. In an inventive masterstroke Nolan sequences the film in disorienting reverse order, cracking the foundation under the viewer's feet and recreating what it must be like to know nothing about what just happened. Memento demands full engagement and attention to detail, and rewards the investment with a finely crafted thriller full of twisty deceit and psychological trauma.

Gradually Nolan layers in a theme of nagging doubt about everything Leonard believes to be true. He remembers nothing, and so cannot trust anything. Even with all the scraps of notes, jumbled Polaroids and permanent tattoos, he is an easy man to take advantage of. The motel manager admits to charging him for two rooms, confident Leonard won't remember the confession.

But Nolan's ingenuity, while never descending to gimmick status, may also be a case of too much of a good thing. The black and white scenes do run chronologically and yet interfere with the already difficult task of following the main plot running backwards. It's almost impossible to mentally arrange all the film's events in proper order. This may be the point and allows for a few alternative explanations, but a level of exasperation undeniably creeps in.

Guy Pearce, Joe Pantoliano and Carrie-Anne Moss do their jobs by sticking to basic character types, this being a movie where character depth and backstories are excluded by design.

Memento stands out as a unique achievement. It threatens to outsmart itself, but is a nevertheless gripping experience.






All Ace Black Blog Movie Reviews are here.


Saturday, 4 June 2016

Movie Review: L.A. Confidential (1997)


A film noir masterpiece set in Los Angeles of the early 1950s, L.A. Confidential features a convoluted, multi-layered and character-rich story of crime, corruption and conspiracy.

The arrest and imprisonment of crime boss Mickey Cohen creates a vacuum at the top of the Los Angeles underworld. The police department tries to project a clean cut image through the sanitized television show Badge of Honor, but the reality is that the force, under the command of Captain Dudley Smith (James Cromwell), is rife with corruption.

Three officers go about their careers with very different attitudes. Jack Vincennes (Kevin Spacey) loves the glamorous life and colludes with scum journalist Sid Hudgens (Danny DeVito), who publishes the Hush- Hush tabloid, to stage high profile narcotics arrests. Ambitious Ed Exley (Guy Pearce) has a strong moral compass inherited from his father, a deceased cop, and wants to be promoted to Detective Lieutenant as quickly as possible. Bud White (Russell Crowe) is a hot head, quick to settle disputes with physical violence, but he also may be smarter than he looks. When a jail cell brawl gives the police department a black eye, Exley earns the wrath of his colleagues, and a promotion, by naming names.

Despite Cohen's arrest the department struggles to put a lid on increasing levels of street violence. Cohen's former associates are methodically gunned down, then a bloody multiple murder is committed at the Nite Owl coffee shop, with ex-cop and White's former partner Dick Stensland among the victims, as well as porn starlet Susan Lefferts (Amber Smith). A trio of Negroes is suspected of committing the Nite Owl murders and Exley becomes a hero for bringing them conclusively to justice.

But White pursues the Lefferts angle and uncovers a high-class pornography, prostitution and blackmail ring operated by businessman Pierce Patchett (David Strathairn), who forces his girls to undergo plastic surgery to resemble famous movie stars. White starts a steamy relationship with Lynn Bracken (Kim Basinger), the Patchett girl made to look like Veronica Lake. Exley starts to have doubts about the perpetrators behind the Nite Owl case, White starts to feel used by Smith, and Vincennes finally gets disgusted with his own attitude when a gay sting operation goes wrong. The three men still don't like each other but have to start cooperating to uncover what is really going on in the L.A. crime world.

Directed by Curtis Hanson, who co-wrote the the Academy Award winning script with Brian Helgeland, L.A. Confidential oozes style, substance and attitude. The adaptation of the James Ellroy book remains coherent despite the various narrative threads, multiplicity of characters, and various personal and hidden agendas. Curtis and Helgeland expertly weave together a hard-hitting story of uncompromising violence and sex that celebrates unique characters, avoids buddy movie trappings, and maximizes the value out of strong and opposing personalities forced to co-exist.

In focusing almost equally on three protagonist, none of them too likable, L.A. Confidential sets itself apart from most other crime films. Vincennes, Exley and White have quite a few more flaws than redeeming features, and it is fascinating to watch these men evolve, grapple with their own personalities and then overcome their mutual resentment just enough to cooperate, without ever giving up on who they are. Russell Crowe and Guy Pearce were relative unknowns but quickly establish a strong screen presence. Spacey is the perfect fit for the role of Vincennes, the cop possessing a perfect understanding of what Los Angeles is all about: show business and personal promotion first, everything else for sale.

Further adding to the potent mix of masculinity are Dudley Smith as the uncompromising police captain and Pierce Patchett as the shadowy businessman with a side business. Smith and Patchett are power brokers in a city intoxicated by power and sex, and they have long since learned that bending the rules under the veneer of respectability is the way to get things done.

Even minor characters prove to be important. Sleazy narrator Sid Hudgens stages and reports on arrests in equal measure, less interested in the news and much more interested in serving up scandalous headlines and photos. Former police officer Buzz Meeks and the disgraced Dick Stensland leave the force but don't leave the criminal world too far. Tough, big but dim, they both find themselves over their heads as the crime wave intensifies.

Not exactly a femme fatale but more of a willing victim with the irresistible weapon of seductiveness, Lynn Bracken is the one woman in a plot dominated by aggressive men. Kim Basinger is surprisingly effective combining unconstrained sexuality with vulnerability and was rewarded with the Best Supporting Actress Academy Award.

While it is a challenge to keep track of the many characters and plot complexities, the payoff is immense. As the threads come together, the film soars to heights of proficiency, the bodies are uncovered, the conspiracies revealed, the criminals and crime fighters emerge from the shadows and collide in an exhilarating climax.

The cinematography by Dante Spinotti captures a Los Angeles still growing into itself, baking under the sun, selling an image manufactured by the Hollywood dream factory but also consumed by corruption at every level. An evocative, jazz-infused Jerry Goldsmith score perfectly complements the ambiance.

Under the harsh sunshine and in the West Coast heat, L.A. Confidential is dark, moody, and magically compelling.






All Ace Black Blog Movie Reviews are here.



Sunday, 22 May 2016

Movie Review: Prometheus (2012)


A deep-space science fiction horror adventure, Prometheus builds up towards some tense moments with a space crew searching for superior alien beings who may have created humanity. But despite a glossy production, the film's lofty themes are not matched by shoddy characterizations and perfunctory expositions.

In the year 2089, scientists and lovers Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover ancient caves in Scotland denoting alien shapes and a star map. The imagery matches others found throughout the world, leading Shaw and Holloway to conclude that aliens, dubbed The Engineers, created humankind. Aging billionaire tycoon Peter Weyland (Guy Pearce), seeking the secret to eternal life, is enthralled enough to fund an expedition to make contact with humanity's creators.

By 2093, the Weyland-funded spaceship Prometheus arrives near the destination planet. Shaw and Holloway lead the scientific expedition and are accompanied by a motley crew of other experts and explorers. The icy cold Meredith Vickers (Charlize Theron) commands the mission with authoritative zeal, and the vessel is captained by the more laid back Janek (Idris Elba). The robot-in-charge is David (Michael Fassbender), and he keeps the ship functioning until the crew awakens. They land and start to explore the planet's surface, finding dome-shaped installations seemingly built by the Engineers. But there are also signs that the Engineers themselves ran into trouble, and the Prometheus crew is soon threatened by internal strife as well as a horrific external menace.

Directed by Ridley Scott, Prometheus is a prequel-of-sorts to Alien, but with a more philosophical focus. The film never quite decides what it wants to be, and ends up as an uneven mishmash of origins-of-life philosophy, creature-versus-human battles for survival, and petty human conflicts. The aesthetics are gorgeous on the alien planet surface, and there are moments of effective and yucky-gooey horror, but the film is sold short by a script that truncates thoughtfulness in a rush to create conflict.

The film introduces concepts related to no less than the creation of humanity and the relationship between the creator and the created. But lacking proper courage to delve into its own themes, the conversation is limited to ancient scrawls on cave walls, and a few dialogue exchanges that barely go beyond the superficial. The extent of explaining the entire thesis behind a superior race creating humanity resides with interpretations of ancient carvings, a quite dubious premise on which to launch a trillion dollar expedition.

Instead of exploring big ideas with conviction, the script (by Jon Spaihts and Damon Lindelof) hurriedly seeks villains with an agenda, and populates the crew with excitable and cursory characters lacking in depth and context rushing to betray one another and unleash predictable surprises.

The year may be 2093, but scientific rigour and on-board procedures have taken many steps backwards. The Prometheus crew is made up of unconvincing scientists, technicians and assorted victims-to-be. Discipline is the first casualty even before any threats appear, and the slipshod trampling over dangerous artifacts and mishandling of potentially deadly foreign matter denotes a script rushing to set-pieces and leaving large plot holes in its wake. And when they arrive, many of the highlights appear to mimic the better moments from Alien.

Shaw gets a sketched-in background story, and Noomi Rapace is effective as the most empathetic of the characters, often holding the film together. She also enjoys the most memorable moment, an impromptu self-administered emergency surgery. Michael Fassbender is also good as David the robot-in-human-form, but his secretive machinations are derivative and occasionally cross the line into ludicrous mad-scientist villainy.

Prometheus is one third interesting science, one third questionable ideology, and one third character interaction balderdash.






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Thursday, 10 December 2015

Movie Review: Lawless (2012)


A prohibition-era action drama based on real events, Lawless mixes violence with family bonds and local skirmishes for control of the illicit alcohol trade. As three brothers from rural Virginia face off against big city criminals, there are plenty of predicable elements but also some snazzy moments of excitement.

It's 1931, and brothers Forrest, Howard and Jack Bondurant (Tom Hardy, Jason Clarke and Shia LaBeouf) are among the more successful families independently manufacturing and distributing alcohol in rural Franklin County, Virginia. Forrest is the brains, Howard the muscle, and the youngest Jack is the driver, considered by Forrest to be not-yet-ready for the serious business of intimidation and deal-making. The brothers operate under a mythology of invincibility, partially justified by Forrest's war-time adventures. The local sheriffs are friendly and kept under control with a regular supply of booze.

Maggie (Jessica Chastain), a dancer escaping from the chaos of Chicago, offers her waitressing services to the Bondurants and initiates an across-the-room relationship with Forrest. Meanwhile, Jack starts to romantically pursue Bertha (Mia Wasikowaska), the local reverend's daughter. With plenty of money to be made in the illegal alcohol trade, the big-time gangsters move into the Bondurant's turf. Special Deputy Charlie Rakes (Guy Pearce) is sent in to do the dirty work of bringing the ragtag moonshiners under the control of Chicago mobsters. Forrest is the only producer who resists, leading to increasing levels of violence as Rakes tightens the noose of intimidation and Forrest lashes back.

Lawless is based on true events as described in the book The Wettest County in the World by Matt Bondurant, Jack's grandson. Director John Hillcoat aims for a Bonnie And Clyde type vibe, with the Bondurants as 1930s outlaws to cheer for because they are likable rogues and everyone else is as bad or even more corrupt. To a certain extent the film succeeds as a romp on the backroads of the moonshine industry, with some wild but at least somewhat true episodes of throat slitting, broad daylight street gun battles, and ingeniously hidden distilleries pumping out unfathomable amounts of alcohol.

Fun as the adventures are, the film is also lacking in the necessary charm. Forrest is the closest Hillcoat comes to finding a compelling character, with Tom Hardy delivering an entertainingly gruff and mumble-filled performance. But about half way through the film his presence is sidelined for a long stretch, and the narrative momentum suffers.

The story is predominantly told through Jack's eyes, the least interesting of the brothers, and his moments of growth and development are both few and jarring when they happen. Jack's rather prolonged pursuit of Bertha fails to ignite.  Also disappointing is an underdeveloped role for Jessica Chastain as Maggie. She gets one good scene of proactive yet sensitive seduction, but otherwise settles firmly into the background.

What the protagonists may lack in flair, Special Deputy Charlie Rakes more than makes up for in over-the-top despicable smarm. Guy Pearce does not hold back in creating an easy-to-hate villain, from the ridiculous hair to the city slicker clothes and sniffy condescending attitude. The clash between Forrest and Rakes is a spicy collision between idealized rural honesty and exaggerated urbanite arrogance. Also adding some edge is Gary Oldman, who makes a couple of relatively brief but effective appearances as Floyd Banner, another well-financed gangster muscling in on the alcohol business.

The backdrops are provided by BenoƮt Delhomme's cinematography, and he creates a landscape only marginally disturbed by human settlement. Mountainous rural Virginia of the 1930s is a bleak, gray place, a comfortable home for the locals but relatively foreboding to outsiders, a perfect base from which an illegal industry can thrive.

Lawless achieves and maintains a middling level of engagement. Much like the moonshine itself, the quality varies by the batch but the underlying buzz is always there.






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