Showing posts with label Jessica Chastain. Show all posts
Showing posts with label Jessica Chastain. Show all posts

Thursday, 3 October 2024

Movie Review: Mothers' Instinct (2024)


Genre: Mystery Drama  
Director: Benoit Delhomme  
Starring: Anne Hathaway, Jessica Chastain  
Running Time: 94 minutes  

Synopsis: In the early 1960s, suburban housewives Celine and Alice (Anne Hathaway and Jessica Chastain) are next-door neighbours and best friends. Celine is mother to Max and cannot have any more children. Alice suffers from anxieties and is constantly worried about her son Theo, who is allergic to nuts. Celine and Alice's husbands both have good jobs, while Max and Theo are best friends. A tragedy interrupts the near-idyllic lives of the two families, testing the women's close bond.

What Works Well: Anne Hathaway and Jessica Chastain are both in fine form, and infuse Celine and Alice with enough ambiguities to initially sustain a mystery thick with opaque motivations and insidious manipulations. The costumes and hairstyles admirably evoke a chic middle-class suburban aesthetic on the cusp of the Kennedy era.

What Does Not Work As Well: The plot progresses on a straight trajectory towards preposterous, leaning hard against subtlety until it suddenly does not. The script raises questions about childhood trauma, motherhood, loss, friendship, and mental health, but miserably fails to actually probe any of the themes, settling instead for a boorish final act unworthy of Hathaway and Chastain. The supporting characters behind the two leads are relegated to irrelevant. 

Key Quote:
Alice (to her husband): You think I'm imagining things?






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Saturday, 21 September 2024

Movie Review: Armageddon Time (2022)


Genre: Coming-Of-Age Drama  
Director: James Gray  
Starring: Anne Hathaway, Anthony Hopkins, Jessica Chastain, Jeremy Strong, Banks Repeta, Jaylin Webb  
Running Time: 115 minutes  

Synopsis: It's 1980 in Queens, New York. Paul Graff (Banks Repeta) enters Grade 6 with a natural talent for sketching and a special relationship with his kind grandfather Aaron (Anthony Hopkins). Paul's mother Esther (Anne Hathaway) is on the school PTA, emboldening his less than stellar behaviour, although his father Irving (Jeremy Strong), a plumber, can resort to severe punishments. After befriending impoverished black classmate Johnny (Jaylin Webb), Paul's life changes when his parents transfer him to a private school.

What Works Well: Inspired by the childhood memories of director and writer James Gray, this coming-of-age drama benefits from a warts-and-all approach. Young Paul Graff, brought to life by an engaging Banks Repeta, is often a disobedient rascal both at home and at school, moving the drama away from dreamy nostalgia and towards ragged reality. Themes of racism and privilege (black classmate Johnny gets the brunt of any punishments), antisemitism (the family is Jewish), politics (Reagan is about to be elected President, and this family therefore believes Armageddon will be unleashed), and imaginative escapades decorate the passage to adolescence. Anthony Hopkins as the wise old grandpa delivers the warmest adult performance.

What Does Not Work As Well: 
The fragmented plot happily settles in episodic territory where plenty of details (including the involvement of the Trump family at Paul's private school) ultimately add little value.

Key Quote:
Grandpa Aaron, to Paul: I've learned over the years, those bastards who say all that crap and garbage to your face will then say the same stuff behind your back.






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Saturday, 9 December 2023

Movie Review: The Forgiven (2021)


Genre: Drama
Director: John Michael McDonagh
Starring: Jessica Chastain, Ralph Fiennes, Matt Smith
Running Time: 117 minutes

Synopsis: Married British couple David and Jo Henninger (Ralph Fiennes and Jessica Chastain) are enroute to a Morocco destination party hosted by the wealthy Richard Galloway (Matt Smith), whose mansion is in the middle of the desert. David is a heavy drinker, and while driving across the desert at night he accidentally hits and kills a local boy. After a cursory police investigation, the dead boy's father arrives and demands that David attend the funeral, leaving Jo behind with the other party guests. The subsequent ordeal further tests the already fraught Henninger marriage.

What Works Well: Writer and director John Michael McDonagh adapts Lawrence Osborne's book as a slow-burning drama most interested in exploring a clash of cultures. A decadent party drenched in alcohol, drugs, and sex is juxtaposed with conservative tribal customs, the locals now surviving by serving foreigners and peddling culture and history. David's dismissive arrogance embodies all that is wrong with misplaced superiority, and his emotional awakening anchors the narrative. The intriguing locations and expansive cinematography add spice.

What Does Not Work As Well: Momentum sags once the premise is set, and David's ominous journey idles in the same emotional space for a long time. The superficiality of the party guests and their behaviour represents cinematically wasteful condemnation, with Jessica Chastain struggling to elevate her role into relevance.

Conclusion: Shimmers in the desert, but beware the mirage.



All Ace Black Movie Blog reviews are here.

Saturday, 5 November 2022

Movie Review: The Good Nurse (2022)

A medical drama, The Good Nurse uncovers evil lurking where patients are most vulnerable.

In a prologue set at a Pennsylvania hospital in 1996, a patient suffers an unexpected seizure and dies despite desperate resuscitation attempts, with nurse Charles Cullen (Eddie Redmayne) watching on.

In 2003, Charles joins the ICU night shift staff at Parkfield Hospital in New Jersey. He establishes a friendship with nurse Amy Loughren (Jessica Chastain), a co-worker and single mom hiding a heart condition. She needs a transplant, but will only be eligible for health insurance after a full year of employment. Charles promises to help her reach that milestone.

Elderly ICU patient Ana Martinez dies unexpectedly. Detectives Baldwin and Braun (Nnamdi Asomugha and Noah Emmerich) investigate and encounter stonewalling by hospital administrators and lawyers, but uncover Charles' suspicious history of working at nine different hospitals and always departing under a cloud of silence. When another ICU death occurs at Parkfield, Amy suspects Charles of involvement and becomes the one inside source helping the investigators.

Based on actual events, The Good Nurse adapts Charles Graeber's true-crime book with more proficiency than artistry. Writer Krysty Wilson-Cairns pens a human-centred script focused on Amy's harried life, allowing Charles to emerge as a spectral shadow of death, a cold, efficient, and troubled killer lacking coherent motives. Director Tobias Lindholm embraces sickly hospital greys and greens, with subdued lighting to represent bleary night shift fatigue.

Some traction is achieved within this milieu, both Jessica Chastain and Eddie Redmayne bringing admirable intensity to their roles, but with Cullen's guilt a matter of public record, dramatic tension remains limited. Lindholm stretches out the machinations to the two hour mark, and despite leveraging the twin horrors of a murderous nurse and a system more interested in avoiding lawsuits than saving lives, the third act is occupied with half-hearted motions pointing at foregone conclusions.

Amy's dilemma is amplified by initially perceiving Charles as an ally helping to relieve her work load, sympathetic to her serious health issue, and befriending her kids. Wilson-Cairns offers precious little else about Charles (he hints vaguely at the traumatic death of his mother), leaving the drama with a murky antagonist. The Good Nurse engages thanks to the source material's potency, but the missing shifts are also noticeable.



All Ace Black Movie Blog reviews are here.

Saturday, 22 October 2022

Movie Review: The Eyes Of Tammy Faye (2021)

A rise-and-fall drama, The Eyes Of Tammy Faye is the biography of a woman who helped build an empire based on deceit.

In Minnesota of the 1950s, Tammy Faye (Jessica Chastain) comes from a poor religious family that never showed her any love. Nevertheless, she is bubbly and loves to help others. She meets the dashing Jim Bakker (Andrew Garfield) at a religious college, and they get married. Jim has big ideas to become a wealthy traveling preacher, and Tammy contributes puppeteering to attract the kids.

Everything changes when Jim and Tammy land a late night television slot on the Christian Broadcasting Network run by influential evangelist Pat Robertson (Gabriel Olds). Tammy insists on having a significant role on the show, and the couple build a huge fanbase, attracting the attention of powerful pastor Jerry Falwell (Vincent D'Onofrio). Jim launches his own the Praise The Lord (PTL) Network and funds a lavish lifestyle through an endless stream of pledges. By the 1980s Jim and Tammy Faye are on top of the televangelical world, but trouble lurks ahead.

Portrayed in the media as a caricature with a penchant for frightening makeup, Tammy Faye was Jim Bakker's influential partner as they bilked the gullible through the crass commercialization of religion. The Eyes Of Tammy Faye is a partially successful attempt to find the woman behind the visage, with a focus on portraying Tammy Faye as a genuinely kind people person, tempering Jim's fire and fury towards homosexuals and steering him towards a God loves everyone message.

The film is a showcase for set designs, outfits from the 1950s to the 1990s, and a variety of hairstyles. Jessica Chastain dominates even as she disappears under layers of increasingly scary makeup, portraying Tammy's ups and downs across 35 years. Andrew Garfield is less convincing as Jim, never quite landing the required mix of charisma and connivance. Vincent D'Onofrio has fun bringing understated authority to the character of Jerry Falwell.

The screenplay by Abe Sylvia (based on a documentary with the same name from 2000) accentuates Tammy Faye's positive attributes, but conveniently turns away from her complicity in selling bunk to the uneducated then enjoying the proceeds. Despite 126 minutes of running time, the film never pauses to examine the damage caused by the Bakkers' virulent brand of snake oil, and only waves in passing at the alliance between evangelist leaders and conservative politics.

Elsewhere director Michael Showalter invades the backstages and bedrooms where a power couple start to come apart at the seams, her addiction to pills, oils, and creams giving him licence to exploit her dalliance for profit. Meanwhile she spots clues he may be engaged in a homosexual relationship, but his infamous affair is only obliquely mentioned. The Eyes Of Tammy Faye are good at what they see, but limited by selective focus.



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Sunday, 5 September 2021

Movie Review: Mama (2013)

A horror ghost movie, Mama delivers traditional scares through the story of an angry spirit unwilling to let go of children in her care.

Distraught businessman Jeffrey Desange murders office colleagues and his ex-wife, then abducts his two young daughters Victoria and Lily. At an abandoned cabin deep in the woods Jeffery is about to harm the girls when a malevolent spirit intervenes. Five years later, trackers hired by Jeffrey's brother Lucas (Nikolaj Coster-Waldau) find the two girls miraculously still alive, living in a feral state. 

With support from child psychologist Dr. Gerald Dreyfuss (Daniel Kash), Lucas and his girlfriend Annabel (Jessica Chastain), a heavy metal band member, gain custody. The girls have difficulty readjusting to a domestic environment and make repeated references to Mama. Annabel and Lucas realize a jealous spirit has moved in with the girls, while Dreyfuss uncovers a story from the late 1800s of a mother who attempted to escape with her baby from a now-abandoned mental institution.

With Guillermo del Toro serving as executive producer, Mama is a well-mounted horror film featuring children interacting with a monster, a theme of motherhood, and a ghost appearing in all the right places: through the walls, in the closet, and at a spooky cabin. The special effects are spectral and scary, heightened by the young girls' untamed physical behaviour. The mix between thrills and plot is balanced, and the performances are above-par, with Jessica Chastain adding welcome star power.

Through the character of Annabel, director Andy Muschietti (who co-wrote the script with his sister Barbara) finds a defining arc. Annabel's first action is a sigh of relief at a negative pregnancy test, and she does not hide an initial lack of interest in anything motherly as Lucas brings his nieces into their life. Her attachment to Victoria and Lily grows slowly and underpins the evolving dynamic, with Mama assessing her ability to maintain control over two girls she saved from a sure death.

The scares are hosted in two settings. The cabin in the woods is dark, dank and dusty, surrounded by creepy woods and dangerous cliffs. Muschietti finds reasons for frequent visits to provide Mama with her rural playground. The more urban setting is the large house provided to Lucas and Annabel by Dr. Drefuss, and it's full of narrow hallways, stairs, and not enough lighting. The camerawork here is playful, Muschietti often showing two rooms at once to build sly tension.

For the most part characters survive or expire in accordance with horror movie expectations, with just enough plot leftovers to justify a sequel. Mama has her uniquely obstinate ways of expressing motherly love, but she gets the job done.



All Ace Black Movie Blog reviews are here.

Saturday, 6 February 2021

Movie Review: Ava (2020)

A routine action thriller, Ava boasts an impressive cast but mostly recycles tired professional assassin sub-genre cliches. 

Highly trained killer Ava (Jessica Chastain) works for a mysterious organisation and eliminates her latest target in France, but not before breaking protocol and conversing with her victim. She returns to Boston and reconnects with her sister Judy (Jess Weixler) and mother Bobbi (Geena Davis), as well as Michael (Common), who used to be Ava's lover but is now with Judy. Eight years prior Ava was an addict and abruptly abandoned Michael and her family when she discovered her father's infidelity. 

Now Ava is displaying signs of stress but her handler Duke (John Malkovich) maintains his trust and sends her on a new mission to Riyadh. Through no fault of her own this assignment ends in chaos, with Ava barely getting out alive. Duke's boss Simon (Colin Farrell) loses faith in Ava, unleashing a wave of violence.

Ava zips between several international destinations and always looks slick, director Tate Taylor never lingering in any one place for too long and often finding interesting camera angles. The above-average cast maintains interest without ever being challenged, Jessica Chastain (who also co-produced) suitably dour and ably supported by John Malkovich and Colin Farrell.

But the film's problems run deep. The Matthew Newton script adds little to the well-worn travails-of-the-assassin canon, and features a tediously high number of samey prolonged physical combat scenes. All are clumsily edited into incoherence and end with Ava just a bit bruised and bloodied despite receiving a barrage of heavy blows. The parade of bone crushing melds into a continuous stunt performer exhibition, the impact dwindling with each brawl.

Away from the action, and in a rare case of too much character depth, Ava is surrounded by a daytime soap opera family. Geena Davis is a welcome screen presence, but mom Bobbi is both a drama queen and a heart attack victim. Sister Judy is a highly strung musician quick to erupt into tirades, and Michael is moving from one sister to the next without leaving his gambling addiction behind. Dad was a philanderer and Ava herself is a recovering alcoholic, rounding off an all-in dysfunctional family. 

The domestic scenes exist in a separate, almost dumbfounding movie, and the attempt to bring Ava's two worlds together at a gambling den showdown exposes the script's fundamental brittleness.

Ava looks cool, but gets iced by mediocrity.



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Thursday, 19 July 2018

Movie Review: Miss Sloane (2016)


A spirited political thriller, Miss Sloane boasts a phenomenal Jessica Chastain performance and a rewarding plot.

In Washington DC, high-powered lobbyist Elizabeth Sloane (Chastain) is dragged in front of a congressional hearing presided over by Senator Sperling (John Lithgow) investigating allegations of unlawful influence peddling. In flashback, the events of the prior three months are revealed. Sloane is the star lobbyist at the firm of Cole Kravitz & Waterman managed by George Dupont (Sam Waterston), currently working for Indonesian interests to oppose a proposed palm oil tax bill.

She refuses an assignment by the gun lobby, represented by Bill Sanford (Chuck Shamata), to oppose a pending gun control bill. Instead, she defects to the smaller firm of Peterson Wyatt, run by Rodolfo Schmidt (Mark Strong), to lobby for the legislation and takes half her team with her, although loyal researcher Jane Molloy (Alison Pill) refuses to join the exodus. Despite being massively outspent, Sloane's team make progress in securing congressional votes. Team member Esme Manucharian (Gugu Mbatha-Raw), herself a victim of gun violence, emerges as an eloquent spokesperson. In desperation, Dupont and Sanford launch a smear campaign targeting Sloane's reputation.

Directed by John Madden, Miss Sloane is an electrifying talkfest. Thanks to a gripping Jonathan Perera script, this is a remarkably taut story centred on a captivating character who redefines what it means to be highly-strung. The 132 minutes of drama whiz by effortlessly, Madden building up an irresistible head of steam with a classic David versus Goliath battle for control of the soul of Congress over one of the most heated issues in American politics.

Elizabeth Sloane is one of the most compelling women to command a movie. Addicted to psychotic drugs that keep her awake, she works 16 hours a day, thinks and talks twice as fast as everyone else, and runs laps around her opponents. She also does not hesitate to use and hurt people close to her, abuses the trust of others, and leads a lonely life that includes hiring male prostitutes to emotionlessly satisfy her sexual desires. Ironically, her latest gigolo Forde (Jake Lacy) gets closest to cajoling personal thoughts out of her overactive mind. Chastain gives the performance of her life, and is never better than when fine cracks finally start to appear in Sloane's seemingly impenetrable armour.

And Perera surrounds Sloane with plenty of worthwhile allies and enemies. Esme Manucharian blossoms from behind-the-desk researcher to media star under Sloane's tutelage, but the master lobbyist still has other plans for her young protégé. Rodolfo Schmidt thinks he knows what he is doing when he hires Sloane, but is soon barely hanging on as she rumbles through his firm like a tornado. And Jane Molloy, who stays at the slick firm of Cole Kravitz & Waterman to battle against the gun control bill, finally has a chance to emerge from Sloane's shadow and create her own legacy.

Multiple story lines are nurtured, developed and brought together in the film's final third. The proposed tax on Indonesia palm oil, the gun control bill, the campaign to sully Sloane's reputation, the bitter battle between firms, and Sloane's own crystallizing view of her personal morality come together in a stunning climax. Miss Sloane plays a high stakes game in the unforgiving political arena, where both the strategic maneuvering and the price to be paid are spectacular.






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Saturday, 13 January 2018

Movie Review: Molly's Game (2017)


A biography set in the glitzy world of private high stakes poker games, Molly's Game is a remarkable story of a woman navigating her way through money-drenched terrain where celebrities and less savory characters intermingle.

Two years after hosting her last poker game and soon after publishing a book about her unlikely experiences, Molly Brown (Jessica Chastain) is arrested by the FBI for operating illegal gambling tables. She seeks the services of lawyer Charlie Jaffey (Idris Elba), and as she tangles with the legal system her story unfolds in flashback. Born in Colorado and driven hard by her psychologist father Larry (Kevin Costner), Molly was striving for the US Olympic skiing team when a severe crash ended her hopes.

She moved to Los Angeles and through her new employer Dean (Jeremy Strong), a real estate developer, she gets involved in hosting poker games for Hollywood's elites, including a famous actor referred to only as Player X (Michael Cera). Molly learns all she can and gradually establishes a name for herself, keeping the games clean and legal. Eventually she breaks away from Dean and creates her own brand. But a squabble with Player X ends badly, forcing Molly to relocate to New York and start over, this time with higher stakes both at the table and in her private life.

Written and directed by Aaron Sorkin, Molly's Game is a fast-paced trip fuelled on ambition. The film is immersed in the decadent and ultimately barely consequential milieu of wealthy people trading fortunes at the poker table. But Sorkin latches onto the theme of a desire to achieve ignited by broken dreams, and weaves an intriguing narrative around a woman carving her place in a secretive male-dominated world.

Despite the preponderance of players, lawyers, agents and mobsters, Molly Bloom is the one well-rounded character worth caring about in the film. Sorkin draws out plenty of background from her childhood, particularly a difficult relationship with her father who is also a coach, booster and expert on mind games. And within her family Molly struggled to meet expectations, developing a sense of bratty insecurity among high achieving siblings. Molly's accident on the ski hill frames the film, and becomes the catalyst for a woman determined to climb to the top step of whatever podium is available.

At 140 minutes, the film is a good 30 minutes longer than it needed to be for a relatively small story. In his big screen directorial debut Sorkin allows plenty of flab to creep in. Scenes routinely go on longer than they need to, some details about individual poker hands intrude on the narrative, and the editing is lazy. But the dialogue is often crisp, and Molly finds a worthwhile sparring partner in lawyer Charlie Jaffey. His role grows as the film progresses, the lawyer finally figuring out what makes his client tick and placing it into context.

Jessica Chastain dominates the film and brings Molly to life with plenty of energy and occasional hints of vulnerability and loneliness. Idris Elba and Kevin Costner provide steady support. The men around the table, including Player X (allegedly modeled on Tobey Maguire) remain relatively featureless examples of card players succumbing to base masculine competitive instincts and wasting away money, talent, time or all three.

And where men with too much money and power are addicted to foolish pursuits, a smart woman can find her place to shine.






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Sunday, 11 September 2016

Movie Review: A Most Violent Year (2014)


A gritty business drama, A Most Violent Year is a pragmatic story of commerce and crime coming together in a brewing mix. The film promises much, but ultimately misses its boiling point.

It's 1981 in a violence-plagued New York City. Abel Morales (Oscar Isaac) is an immigrant who has done well running the growing Standard Heating Oil company, having purchased the business from the father of his wife Anna (Jessica Chastain). Abel is now taking the biggest risk of his career, trying to close the deal on an expensive river front industrial property to further boost his business advantage. The Morales family move into their dream new house, but all is not well.  Abel's adversaries are circling, and the Standard delivery trucks are being repeatedly hijacked and their cargo of oil stolen. One driver, an ambitious young man called Julian (Elyes Gabel) is badly roughed up in one such heist.

Abel and his lawyer Andrew Walsh (Albert Brooks) turn to District Attorney Lawrence (David Oyelowo) to try and identify the aggressors, but Lawrence is no help. In fact, the DA's office is about to charge Standard Oil with various counts of fraudulent business practices. An attempted break-in at Abel's house is followed by more truck hijackings, with the level of violence increasing to include shootouts on the freeway. Anna grows restless, the bankers get cold feet, and suddenly Abel has to face the prospect of potentially losing everything he has ever worked for.

Directed by J.C. Chandor, A Most Violent Year leaves the vague impression that it should be much better than it is. There is a thread of sloppiness that runs through the film, from a script (written by Chandor) that sounds remarkably stilted to a slipshod editing job that all too readily truncates scenes prematurely. Key characters, including the lawyer Walsh and most of Abel's business competitors, are barely provided with any screen time despite their increasing importance to the story. Instead the film tilts towards over-investing in individuals like Julian, who are ultimately not as relevant. The film ends with too many loose ends flailing in the riverfront breeze.

Visually the film captures a pleasing late 1970s / early 1980s dour aesthetic, but the attempt at industrial bleakness also borders on sparse.

Where the film does succeed is in presenting an inflection point in a struggle between good and evil on the battlefield of a single industry and more specifically one business. While the 1970s are associated with a crime-infested and dangerous New York City, by the time the late 1980s rolled around the city had undergone a remarkable transformation into a sparkling modern day and relatively safe metropolis. A Most Violent Year sits at the transformational crossroads, Abel's stubborn insistence on a different way of doing things representing a forthcoming societal sea change.

Most of the better moments come thanks to a terrific performance by Oscar Isaac as Abel Morales. He finds the essence of a man determined to play the business games as ethically as possible within the confines of a corrupt industry. Isaac's dark, intense eyes are essential in conveying a businessman carrying the weight of the future on his shoulder and fending off appeals from all around him to dive into distasteful sleaze and increased violence.

The pacing and tone are also generally good. The film maintains steady momentum, Abel and Anna dealing with one misfortune after another, and creating some of their own strife through a tumultuous lack of alignment. The rising tension serves to highlight the film's shortcomings, with some of the good set-up work going to waste, Chandor too often failing to deliver the intellectual punch when needed.

A marginally rewarding drama, A Most Violent Year is also an opportunity wasted.






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Tuesday, 16 August 2016

Movie Review: Texas Killing Fields (2011)


A bleak crime drama, Texas Killing Fields offers a moody atmosphere, but is undermined and ultimately sunk by a cluttered and wayward script.

In Texas City, the body of a brutally murdered young woman is discovered. Detectives Mike Souder (Sam Worthington) and Brian Heigh (Jeffrey Dean Morgan) start to investigate. Meanwhile Detective Pam Stall (Jessica Chastain) is responsible for the surrounding rural area, notorious for the high number of murdered and missing women dating back to the 1970s. Pam also has a missing woman case on her hands and calls for help from Brian and Mike, the latter being her former husband.

Complicating life for the detectives is concern for Anne Sliger (Chloë Grace Moretz), a young teenager living with her white trash single mother Lucie (Sheryl Lee) and older brother Eugene (James Hebert). Lucie is a local whore of sorts, and the menacing Rhino (Stephen Graham) appears to move into her house to help himself to a piece of her action.

Mike wants to focus his effort on the Texas City murder, while Brian, a deeply religious man, is more inclined to widen the investigation to help Pam and include the surrounding swampy fields. Mike zeroes in on pimps Levon (Jon Eyez) and Rule (Jason Clarke) as potentially involved in murder, while Brian enlists the services of a phone company contact to try and triangulate the origins of cell phone calls linked to the murders. The detectives soon find themselves being taunted and drawn into a deadly game with the mysterious killer.

Inspired by real events and directed by Ami Canaan Mann (daughter of Michael Mann), Texas Killing Fields throws plenty of characters and events of the screen, but fails to make any of them count. Three detectives, four creepy possible villains, several victims, many crime scenes, plus a few side-plots: there is plenty going on, and unfortunately none of it captivates. The film is stylishly assembled and the lead performances are professional enough, but the final product is badly let down by a confused script and poor execution.

The film is written by Don Ferrarone and it does appear that in trying to create a dramatic fictional narrative, the enormity of the real life agonies and tragedies of the Texas Killing Fields along Interstate 45 overwhelmed the writing. The resultant tone is simply off. Somehow, the most important debate presented in the film is whether Mike and Brian should or should not help Pam, who is outside their jurisdiction. On multiple occasions Mike berates Brian for venturing into the hinterlands instead of sticking close to home. With everything going on, it's a stupefying issue to repeatedly waste screen time on.

Meanwhile, we learn precious little about Mike, Brian and Pam, except that they are grim faced, dour and fairly snappy with each other. The ashes of the relationship between Mike and Pam just scatter in the wind, serving no purpose. Similarly Brian's religious fervor is introduced and forgotten.

The murder suspects fare much worse. Levon, Rule, Rhino and Eugene must be despicable characters because they scowl at the camera, have tattoos, and generally look the way pedophiles and pimps are supposed to. They remain prototypical bad guys with no backstory. Even less is known about the murder victims and their families. And then Mann throws into the mix even more peripheral characters in the form of prostitutes and runaway kids, who drift in and out of various scenes and serve to further distract from a focus that is never found.

With Worthington, Morgan and Chastain stuck in angry detective mode, it is left to Chloë Grace Moretz and Sheryl Lee to deliver the most affecting performances in relatively small roles. Moretz is steady, her vulnerability representing potential victims who come from hopelessly broken homes. Lee is the stand-out performer as Lucie, a woman so far gone into desperation that she routinely kicks her daughter out of the house to better serve her sleazy clients.

Despite earnest intentions and no shortage of talent, Texas Killing Fields is messier than grasslands trampled by an unruly herd, and a regrettably wasted opportunity.






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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 Benoît 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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Wednesday, 9 December 2015

Movie Review: The Debt (2010)


A decades-spanning action drama set in the world of Mossad agents, The Debt is a powerful story about spies grappling with personal agonies in a world that demands heroes and easy victories.

The film unfolds in two time periods, 1965 and 1997, with the same characters portrayed by different actors. In 1965, Mossad agents Rachel (Jessica Chastain), David (Sam Worthington) and Stefan (Marton Csokas) are sent on a dangerous mission to East Berlin. They are to abduct and bring back to Israel Nazi war criminal Dieter Vogel, more famously known as the Surgeon of Birkenau for his macabre wartime experiments on concentration camp prisoners.

David is a sensitive introvert, while Stefan is the more cocky extrovert. Both men fall in love with the determined and capable Rachel. The trio do find and capture Vogel, but the mission runs into trouble before they can smuggle him out of East Berlin. In captivity at the safe house, the former Nazi turns out to be a formidable foe, but nevertheless, Rachel, David and Stefan eventually return home as heroes, their mission proclaimed a great success. A pregnant Rachel marries Stefan soon afterwards.

In Tel Aviv of 1997, Rachel (Helen Mirren) is being feted on the cocktail circuit. Her daughter Sarah (Romi Aboulafia) has just published a book chronicling the famous 1965 mission. The celebrations are marred when David (Ciarán Hinds) commits suicide by stepping in front of a large truck. Stefan (Tom Wilkinson), now a senior Mossad executive but confined to a wheelchair, reconnects with his ex-wife Rachel. David's suicide is a sure sign that all is not well in the spy world, and Rachel will reluctantly be drawn back into a world of intrigue that she thought was firmly in her past.

Visiting some of the same territory as 2005's MunichThe Debt is a film that demands concentration. Director John Madden jumps around between 1965 and 1997, and adds a brief stop in 1970 for good measure. With six actors portraying the three main characters, this is a film where it is imperative to quickly understand who-is-who, when and where. Madden pulls off the not insignificant trick of keeping the narrative cohesive while simultaneously establishing three unique characters and the psychological luggage they have accumulated over 32 years.

The pay-off for investing in the film's complex structure is immense. Madden and the team of screenwriters (Matthew Vaughn, Jane Goldman and Peter Straughan) reveal the secrets of the plot slowly, in tantalizing increments, first introducing a sense of lingering unease, then an unresolved dynamic between Rachel, David and Stefan, and finally, a quite stunning secret hiding at the heart of their professional lives. The film works its way towards a simmering conflict that draws in personal achievement, honour, private emotions and national pride, resulting in a delicate balance constructed in 1965 but at risk of collapsing in 1997.

The Debt also pokes away at the deep scars of the holocaust. The character of Vogel emerges as an evil Nazi catalyst for the ages, chillingly adept at matching wits with the Mossad agents despite being shackled. He finds their weaknesses, pushes their buttons, and seeks any advantage, turning what was an already dangerous mission into a journey through psychological hell for Rachel and her colleagues. This added layer of dark human sparring elevates The Debt to a level of intellectual excellence rarely encountered in a spy action drama.

The film's aesthetics are as grim and layered as the subject matter. The Ben Davis cinematography brings to life an East Berlin bathed in dank browns, yellows and greys, the iron curtain firmly closed and controlled by a police state.

Jessica Chastain delivers an amazing performance, conveying the fragility of a new field agent dropped into the real world of danger, falling in love with rugged colleagues, and having to stare down a butcher of men. Her scenes as Rachel overcomes her horror and disgust and pretends to be Vogel's patient at his gynecology practice are simply devastating in their sheer brilliance. In comparison, Helen Mirren as Rachel in 1997 and the likes of Sam Worthington (intense as the younger David) and Tom Wilkinson (a shrewd political operator as the older Stefan) are merely good.

The Debt is a thought-provoking puzzle, a journey through the moral ambiguity of a world where lust for revenge competes with historical wrongs, and the outcome is both right, wrong, and disastrous, depending on perspective.






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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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