KURSK: THE LAST MISSION aka THE COMMAND

In the wake of watching and obsessing over HBO's superb CHERNOBYL I thought I'd check out thew new film by Thomas Vinterberg - KURSK: THE LAST MISSION aka THE COMMAND.  As with Chernobyl, it's a tale of tragic loss of life in a Soviet/post Soviet system that is riddled with poor quality equipment, poor maintenance, bad decision making, cover ups, and honest working class men betrayed by their superiors.  In this case, the men are submariners running a test exercise in the Barents Sea. This may be 2000, over a decade after Chernobyl, but it's a similar story - an initial accident confounded by an unwillingness to do the right thing immediately. The Russians don't have rescue vessels of their own, having sold them for hard cash (they were taking rich tourists down to see the wreck of the Titanic.)  And when the British and the Norwegians offer help, the Russians refused at first - an unforgivable delay.

Vinterberg's film is a straightforward and earnest affair.  He does well at capturing the claustrophobia and camaraderie of the submarine and Matthias Schoenaerts (Vinterberg's FAR FROM THE MADDING CROWD) is really superb as the charismatic protagonist. The film feels less authentic and more broad-stroke heroes and villains when it gets out of the submarine.  Max von Sydow is straightforwardly the bad guy as the Russian admiral who refuses help.  Colin Firth is straightforwardly decent and square-jawed as the British naval officer trying to help. It's a shame that the script doesn't quite allow for any convincing character building.

KURSK: THE LAST MISSION is rated PG-13 and has a running time of 117 minutes. It played Toronto 2018 and was released in the USA last month and in the UK this week.

RED SPARROW

I sat down to watch RED SPARROW with limited expectations given the poor reviews and controversy surrounding the Jennifer Lawrence spy thriller.  But I found the film to be beautifully cast and acted, superbly photographed, evocatively scored, with a script that was intelligent and provocative and a directorial eye that rightly forced us to address all of the darkness inherent in the #metoo movement. I have since read some of the reviews and it feels as though many people are utterly missing the point of this slippery film.  But I would urge you to watch it, and to keep your wits about you and your loins girded.  No other film better speaks to our times.

The movie opens in contemporary Russia where Jennifer Lawrence's prima ballerina Domenika (shades of BLACK SWAN - Darren Aronofsky was originally attached to the film!) is savagely injured on stage and her career ruined.  Facing eviction and no means of supporting her sick mother (Joely Richardson - saying more with one look than many actresses with pages of screenplay), Domenika is lured into working for her uncle (Matthias Schoenaerts - a dead ringer for a young Putin), the Deputy Director of the Russian secret services. He essentially pimps her out to an oligarch, deliberately putting in the way of sexual assault. When Domenika then becomes witness to that oligarch's murder she is given the non-choice of being assassinated herself, or joining the Russian SS4 spy school and essentially continuing her career as a spy/whore for her country.  Her specific mark is an American CIA agent based in Budapest, played by Joel Edgerton, who is running a mole in the Russian secret service. Her task is to seduce him and get the name of the mole. Meanwhile, she runs a side-con, offering him the information that a senior American official is selling state secrets.  

Let's start with the unequivocally good stuff. This is a movie that looks gorgeous. Every detail of the shabby 70s looking Budapest and Russian apartments contrasted with the ornate Russian government offices and ballet theatres is sumptuous and evocative, creating a world that I utterly believed in.  The cinematography and editing is similarly superb - particularly in the opening scene that intercuts the ballet accident and a spy meeting in Gorky Park that goes wrong. Even that name is evocative - and this is a film that clearly knows and respects the history of its genre, complete with a final handover scene straight out of SMILEY'S PEOPLE. Moreover, with the exception of a few very violent set-pieces this is not really an action movie at all. It's a genuinely tricksy intelligent spy thriller that has you genuinely guessing as to which side Domenika is on, and who the mole is.  It has the confidence to make its audience work hard, and to confirm a theory with a simply subtle smile between two characters rather than with heavy-handed exposition. 

And now to the controversy. RED SPARROW is a film about how men exercise power over women, subtly, obviously, through coercion or outright aggression, and more often than not through sexual violence.  This sexual violence graphically shown and so it should be  - to show the sheer fear of a woman physically assaulted by a powerful man - and to contrast with how Domenika slowly takes back that sexual and intellectual power from pretty much every man in the film.  It is - then - a film that doesn't shy away from showing scenes of rape, attempted rape, and sexual manipulation and humiliation. But each time, there is a power shift.  And how refreshing to see a woman's sexual power explored on film by an actress who was firmly in control of the film's development and her own nudity.  In other words, this isn't - per many reviewers - a sexist film - but a film about sexists.  It's a film about a woman's political awakening. And that couldn't be more relevant. 

RED SPARROW has a running time of 140 minutes and is rated R. The film was released in cinemas in March 2018 and is now available to rent and own. 

A BIGGER SPLASH - BFI London Film Festival 2015 - Day Six

Director Luca Guadagnino (I AM LOVE) makes a triumphant return to our screens with his remake of Jacques Deray and Jean-Claude Carrière’s LA PISCINE.  One of my all-time favourite films is thus transformed into another superb erotically charged, wonderfully ambiguous thriller.

In this largely faithful remake, we are placed on a small Italian island and a rented villa where rockstar Marianne (Tilda Swinton) is recovering from a throat op that renders her almost unable to speak. She's evidently passionately and mutually in love with her boyfriend, a recovering addict photographer called Paul (Matthias Schoenaerts.) Their gloriously restful idyll is shattered when Marianne's ex Harry (Ralph Fiennes) turns up with his young daughter Penelope (Dakota Johnson) in tow. 

FAR FROM THE MADDING CROWD

You can listen to a podcast review of this film here.

In late nineteenth century rural England a coquettish, strong-willed but ultimately kind young girl called Bathsheba Everdene rejects the earnest proposal of a good but apparently rather dull sheep-farmer called Gabriel Oak.  She goes on to inherit a large farm and surprises the county by running it herself, although relying very heavily on Oak's advice in his reduced position of shepherd.  Oak must watch guiltily fend off the proposals of the rich austere Mr Boldwood, to whom she has sent a valentine in a fit of pique little suspecting the deeply passionate and obsessive response it would provoke.  Worse still, both Oak and Boldwood have to watch her marry the feckless and cruel Sergeant Troy, a man who has already ruined the poor maid Fanny Robbin.

This is, of course, the story of Thomas Hardy's most famous novel, Far From The Madding Crowd, and the iconic 1967 film adaptation directed by John Schlesinger, starring Julie Christie as Bathsheba and Alan Bates, Peter Finch and Terence Stamp as her three lovers.  That film is so beloved and so well-acted and photographed that a remake felt almost superfluous, but I am pleased to report that it has its own charms.

SUITE FRANCAISE

You can listen to a podcast review of this film below or subscribe to Bina007 Movie Reviews in iTunes:

In World War Two, Irene Nerimovsky penned the first two parts of a novel before being sent to her death in Auschwitz.  Sixty years later, her daughter discovered and published those two self-contained novellas as Suite Francaise and it became a literary sensation, perhaps more because of the romance of its discovery than the work itself.  We now have this movie adaptation of the book, focussing heavily on the second part - the love story between a French woman and a Nazi soldier- that starts with a depiction of the exodus from Paris that forms the first novella.

A LITTLE CHAOS - LFF14 - Day Ten

You can listen to a podcast review of A LITTLE CHAOS here or by subscribing to Bina007 Movie Reviews in iTunes.

A LITTLE CHAOS is a charming amuse-bouche - a witty historical fantasy - gently telling us much about the perils of court life. It stars Kate Winslet as a gardener, Madame Sabine de Barra, in the court of Louis XIV.  We watch her charm Power by speaking Truth, triumph over court intrigue and create a little chaos in the carefully ordered gardens of the newly built Versailles. In all this she is aided by her frank and simple manner and the kindness of many aristos - not least the King’s brother and sister-n-law - a delightfully flamboyant and honestly dutiful couple played by Stanley Tucci and Paula Paul. Sabine also falls for the married Master of the gardens, André Le Nôtre (Matthias Schoenaerts), who throws off a typically cynical court marriage to pursue the affair. And what of the king himself? Alan Rickman plays Louis XIV as weary, conservative but willing to listen in a handful of charming cameo scenes.

The movie is so very dripping in charm and liveability that it’s easy to forget that the basic concept of a gauche outsider finding favour in surprising circumstances in lifted from many a genre movie. Alan Rickman’s direction is stylish, elegant and all elements combine so gracefully that it may seem a more frivolous thing than it really is. For behind the sumptuous clothes and reawakening of life are a handful of delicately played scenes about the reality of court life - trapped, bending to the will of the king, discarded as beauty fades, and unable to show public grief. I think the approach Rickman takes is superbly judged and best summed up in a brief scene where Sabine meets the discarded King’s mistress (Jennifer Ehle). It’s not the grandstanding scene with the king that I like, but rather the one that precedes it - as women of all ages meet in secret intimacy to discuss their figures, their loves and their children.

Praise then to Rickman, his cast and perhaps particularly to debut screenwriter Alison Deegan for giving herself the license to go off-piste with history. My only criticism, if criticism there must be, is that I was rather disappointed with just how formal and hard Sabine’s garden was. After all, having spent the opening scenes in debate with Le Nôtre about formalism vs organic beauty it might’ve been nice to see something of that in her final creation.

A LITTLE CHAOS has a running time of 116 minutes.  The movie played Toronto and London 2014 and will be released in the UK on February 6th and in Portugal on March 5th.

THE DROP - LFF14 - Day Four

THE DROP is an extreeeeeemely slow burning thriller with a fantastic punchline that probably comes about ten minutes too late for the audience. Still, it's well-made, well-acted and as grimy as one would hope from a film based on a Denis Lehane novel.

The film stars Tom Hardy (BRONSON) as Bob - a bartender in Brooklyn so self-effacing he almost looks mentally challenged.  As the film opens he rescues a small battered puppy from the trash can of a similarly vulnerable woman called Nadia (Noomi Rapace - PROMETHEUS).  Naturally they bond, but incredibly slowly as only two introverts can. Meanwhile, the personality hole is filled by James Gandolfini playing a kind of comically unsuccessful version of Tony Soprano - the guy who thought he was something, but was never the guy who was feared, and ultimately ended up losing his bar to the local Brooklyn Chechen gang. This kind of sets up the story. We have the bar being used as a drop for mafia money that some or other people are trying to knock off. We have Nadia's psychokiller ex boyfriend Eric trying to get his dog and girlfriend back. And in the midst of it we have mild-mannered long-suffering Bob.

To say more would ruin the plot twist but all I would say is to go in patient and delighting in the language and the pauses and then just hold on to the finale.  Tom Hardy, Noomi Rapace and Matthias Schoenaarts in the three main roles seem, to me at least, to do a great job with their Brooklyn accents and to utterly feel their roles. Gandolfini is a a bit more on autopilot but let's not disrespect the man in his final film.  Is the film perfect? By no means. But the payoff is worth it, even if it takes some getting to.

THE DROP played Toronto and London 2014. It was released earlier this year in the USA, Canada, Belgium, Luxembourg and Spain. It opens later this month in Singapore, Azerbaijan, Hungary, the Netherlands, Russia, Estonia and Kenya. It opens in November in Greece, France, the Philippines, Armenia, Australia, Belarus, Hong Kong, Iraq, Kazakhstan, Lebanon, Malaysia, the UK, Ireland, Poland, South Africa, Portugal, Taiwan, Vietnam, New Zealand, and Norway. It opens in Germany on December 4th, Finland on December 5th, Argentina on December 11th, the Czech Republic and Slovakia on January 8th, and Italy on March 19th.

London Film Fest 2012 Day 4 - RUST & BONE

So, it turns out that in contrast to the rather earnest, Oscar-bait advertising, RUST AND BONE is basically a French art-house mash-up of THE UNTOUCHABLES and FRIENDS WITH BENEFITS.  It  has its moments of superbly acted high emotion, to be sure, but it's also very funny, and rather predictably plotted in the spirit of the romantic-comedy genre.  What that means is that you have two attractive but blighted people who fall in love with each long before they realise and admit it, but come together in the final reel after a crisis forces them to confront their feelings.  In this case, the two protagonists are Stephanie (Marion Cotillard) and Ali (Matthias Schoenaerts).   Stephanie, a whale trainer at a marine park, loses her legs in a deftly handled accident, prompting her to call on Ali, a loutish bodyguard and bareknuckle fighter who has a straightforward attitude to sex and a nonchalant attitude to parenting his young son.  His no-nonsense approach is refreshing and he brings Stephanie out of her shell, and they become friends with benefits, until the obligatory third act crisis cements their relationship.

Director Jacques Audiard and lead actors Marion
Cotillard and Matthias Schoenaerts.

I'm not really sure why this film has received such critical attention.  It is well acted and beautifully shot, to be sure, but there is nothing so miraculous here, unless one persists in thinking any actor who takes on a disability is worthy of praise - a patronising attitude, to be sure. Maybe it's the fact that the writer-director, Jacques Audiard impressed us all so very much with his previous feature UN PROPHET that we have a predisposition to look at everything he does through the halo of arthouse genius.  I'm not trying to sound mealy-mouthed here, but there's nothing wrong with making a superior romantic-dramedy, which is basically what RUST AND BONE is.  And for what it's worth, I really do think THE UNTOUCHABLES is the better film, and the the French academy was right to make that, rather than this, its official submission for the Oscars.

RUST & BONE played Cannes, Toronto and London 2012. It was released earlier this year in France, Belgium. the Netherlands and Italy. It is currently on release in Portugal and Switzerland. It opens in the UK on November 2nd, in the USA on November 16th, in Greece on November 22nd, in Germany on January 10th 2013, in Norway on January 11th and in Denmark on March 14th.

The running time is 123 minutes.