Tag Archives: Political Drama

Water

[4 stars]

This much recognized tale by director and co-writer Deepa Mehta is more than just an historical. In fact, despite its setting in 1938 India, it is disturbingly reflective of today with its abuse by the class system, treatment of women, religious fundamentalism, and general social unrest. And I don’t mean reflective of India, I mean worldwide. But commentary aside, the story alone is compelling.

In her first and only film to date, Sarala Kariyawasam, holds this film together with her young and intense presence. As a young widow (at 7 years of age) she is forced to live out the rest of her life cloistered. The collection of women she now lives with are faced with her indomitable spirit and the chaos she brings to their ordered world.

In parallel, John Abraham (Dhoom) and Lisa Ray (Endgame) provide a separate and adult focus of life and possibility. It is a tale we’ve seen before, in many ways, but one that doesn’t tend to get old if you like romance and believe love is more important than rules. That doesn’t mean this is an easy set of choices and the outcome is far from sure, but these actors bring you along the journey and help you believe the choices.

Overall, of course, there is the title: Water. The element here represents life, magic, love, and so much more and so much less. I am curious now about its companion pieces that I didn’t know about: Fire and Earth. Water completes the trilogy, which I can see given the ending, but I have no sense of the overall journey and shape from only this single movie.

This is a beautiful and emotionally frustrating film with a lot to say about the past and about the present. Definitely worth your time if you missed it till now.

Water

queers.

[4 stars]

A truly wonderful and surprising collection of eight, 20-minute monologues commissioned to celebrate the the anniversary of the 1967 Sexual Offences Act, the first official step in England to decriminalize homosexuality. Each monologue tackles a different decade from 1917 up through the present. Cleverly, they do not progress in chronological order, but rather bounce from from 1917 to 1994 to 1987, 1957, 1967, 1941, 1929, and finally 2016.

The effect is one of historical context for each of the eras providing heartfelt stories without making it feel like a history lesson. And the finale, in 2016, works as commentary overall, though only through the reflection of the rest of the pieces. I laughed and cried often through the sequence thanks to mostly wonderful writing and great performances.

Originally performed at the Old Vic, these were also adapted and recorded for the BBC. The monologues succeed on different levels, some being much better than others. But each monologue captures its decade in poignant ways and every one is a frank conversation of the joys, fears, and dreams of the speaker of that time.

Driven by Mark Gatiss (Denial, Doctor Who), who also was one of the writers, the production collected up some solid talent to deliver the stories: Alan Cumming (Eyes Wide Shut), Rebecca Front (Humans), Ian Gelder (Game of Thrones), Kadiff Kirwan (Chewing Gum), Russell Tovey (The Night Manager), Gemma Whelan (Game of Thrones), Ben Whishaw (Lilting)and Fionn Whitehead (Dunkirk). If nothing else, it is a 2.6 hour acting and scripting class.

Make time for these if you get the chance. It is almost entirely focused on the gay experience rather than the lesbian or otherly identified, but the sense of otherness, the sense of triumph, the sense of love and need is universal.

Product Details

Summer Hours (L’heure d’été)

[3 stars]

Olivier Assayas (Clouds of Sils Maria) wrote and directed this  deceptively simple, and highly awarded, story about family several years back. I say “deceptively” because there are layers to this story that are unavoidable, even if they aren’t Assayas’s main focus.

On the surface we have Edith Scob (Holy Motors) as the matriarch of a modern, dispersed family admitting and dealing with her mortality. The frank recognition of her family’s real trajectories and the “residue of the past” in the form of her house and art collection, is both honest and saddening. What she really thinks of the realities is part of what we want to know and part of what at least one of her children, Charles Berling (Elle), must contend with. Also, as the oldest, he must balance his sib’s reactions and desires. Juliet Binoche (Ghost in the Shell) and Jérémie Renier (In Bruges) balance him nicely, hinting at a deep history and long-standing disagreements that they’ve all somehow managed to balance in order to keep their relationships.

But on a deeper level, and sometimes a bit too spelled out, is the deconstruction of the collection from its human surrounds. We watch art become isolated and are forced to question the value of possessions and its meaning, absent people around it. This is true for the collection as well as the family house. While the interactions and story are certainly engaging, it was this aspect of the tale that I found most intriguing, though I wish it had been a bit subtler in the dialogue.

But Assayas wanted to focus on a different story. He was taken more with the generational aspect of life. How do things, ideas, and memories get handed down from the elders to the children. What form does that take and how does it happen? Basically, how does familial history get formed and preserved, and should it or does it need to. He explores this in various ways and to unequal effect. But the story pulls you along far enough before it simply drops you to consider life on your own. Beautifully filmed and nicely acted, it is an interlude worth the time.

Summer Hours

Against the Law

[3 stars]

It is sometimes hard to remember how much the world has changed in the last 60 years. Despite recent setbacks, in general the world and humanity have matured as the distance and time between global points has diminished, and become more accepting of those around them. The sense of “otherness” is becoming common place rather than exotic. To survive, we have realized that we must embrace those around us rather than fight or feeling threatened. Hey, I did say “in general.”

But back as recently as the 1950’s, homosexuality was still a crime in most of the world, punishable by prison. Peter Wildeblood, a London journalist in that era, was caught up in the hypocrisy of his time and was part of the infamous Lord Montagu of Beaulieu trial.  Alongside Alan Turing, one of the other notable attacks on so-called inverts at the time.

Wildeblood, in this portrayal, is given life by Daniel Mays (Byzantium). He is the story, though he has some nice support from those around him. And, inter-cut into the movie are interviews with men from the era who recount their experiences and reactions. It is an interesting counterpoint but it does make the rest feel a bit more clinical than emotional, despite a rousing conclusion to the film as it comes into the present.

After prison, Wildeblood fought in the only way he knew how, by writing about his life, the trial, and declaring himself to the world and, specifically, to the Wolfenden committee. The committee ultimately declared “homosexual behaviour between consenting adults in private should no longer be a criminal offence.”

While this seemingly groundbreaking report was delivered on 4 Sept, 1957, it would be almost 10 years before the laws in Britain would begin to change. On 27 July, 1967, homosexuality between consenting adults of 21 years or older was decriminalized. And it wouldn’t be until 1994 that the law was brought into full parity with non-homosexual relationships and the age of consent dropped to age 16.  There is a wonderful overview of of non-conforming individuals in a series of monologues produced by Mark Gatiss (Denial) also in this film, called “queers.” which I highly recommend; writer Writer Brian Fillis (An Englishman in New York ) also wrote one of the monologues in queers.

Against the Law is an effective, if not entirely a solid film. Its intention is to educate and remind. On those counts it does admirably. And Mays provides a sympathetic focus, though a somewhat stunted arc as a character due to the structure. Still, I can recommend this based on his performance and the impact of the included interviews.

Product Details

Kingsman: The Golden Circle

[3.5 stars]

The first Kingsman was a delightfully unexpected and irreverent romp in spy-land. Taron Egerton (Eddie the Eagle) returns for this middle story of a planned trilogy and manages to grow the character and give us another, if much more violent, round of spy games. It may have lost some of the element of surprise, but the movie compensates with sheer audacity of spectacle and story. And everyone gets to show off a bit in this film.

On team England, Mark Strong (Miss Sloane), Sophie Cookson (Huntsman: Winters’ War), and Colin Firth (Bridget Jones’s Baby) all reprise roles adding to the mythology. But the surprise addition of Hanna Alström (Kingsman: The Secret Service) showed us that Eggsy wasn’t just a love ’em and leave ’em guy, he was capable of commitment. It is a nice flourish for his story.

Team America (1) is a bit more complex to pull apart. A great deal was made of Channing Tatum (The Hateful Eight) and Jeff Bridges (Hell or High Water), but their parts are relatively small. It is more Halle Berry (Cloud Atlas) and Pedro Pascal (The Great Wall) that drive that team. To be truthful, I wish I had known a lot less about this section of the film as it is slowly revealed over the first third of the plot, but it is impossible to not know it given the advertising and the cast.

Team America (2) is the US Government officials led by Bruce Greenwood (Spectral) and Emily Watson (Everest). Greenwood provides an ugly version of the office that was a scarily good guess at the current tenor given that it was in production during the changeover of administrations here at the time. Watson’s is an important role, but a bit of a cipher as a character, which is a shame given her abilities.

In opposition to them all are Edward Holcroft (London Spy) and Julianne Moore (Vanya on 42nd Street). Holcroft isn’t much more than a prop to bridge the movies and make it personal for Eggsy and the Kingsmen. There just isn’t much there other than anger and a desire to succeed. Julianne Moore, however, has a bit more meat on her character bones. Her speech on the motivation and plan she has put into action is one of the more interesting, subtle pieces of the social commentary that underlies this story. While she delivers it all well, there isn’t all that much for her to work with. Still, she kept it from being a cookie-cutter villainess. She also has one amusing, surprise guest with a fun story-line, but I’m not going to spoil that here.

The most interesting returnee to this universe is director and co-writer Matthew Vaughn. This is his first ever sequel. After launching Kick-Ass and X-Men: First Class, he left the franchises to others. He does a credible job coming back for this round, but he did miss a few marks. First, despite its scope, the film doesn’t feel international. It feels like Hollywood. This is in large part due to the rather nasty portrayal of the US government as well as only showing us a view of the world events via a fictionalized Fox News. “Fictionalized” as it is Fox actually doing news (rather than misreporting or opining). But there are no feeds from the other affected countries. That was a mistake I’m sure was insisted on by Fox Studios, but it really rather hurt the credibility of the tale. And Vaughn really has to stop trying to recreate his amazing “Time in a Bottle” sequence from X-Men. It just isn’t going to happen.

On a technical level, the film really excels. The script is constructed solidly to use everything as well as to redeem characters and even the golden circle symbol itself. And the editing, both between scenes and within fights, is pretty amazing. While there are moments it is very much obvious, which you don’t really want editing to be (like a couple of the cross-fades), they’re so beautifully executed that you can’t help but admire the choices. But the intra-fight editing is the real prize: is damn near seamless, which is astounding when you realize the complexity of the shots.

As a whole, this is just as entertaining as the first film in the series. It isn’t so much about discovery any longer, we’ve had our origin story after all. This round is about redemption and growth and finding a place in the world… and a whole lot of violence getting there, as adolescence often is. The film absolutely sets up a third installment, but fully resolves the story it starts in this outing. It has a ton of laughs, car chases worth of Fast & Furious or Bond, tons of flying lead and mashed bodes, and a social message that may or may not resonate for everyone, but that is certainly interesting to note. If you liked the first, you will like the second. If you haven’t found this series yet, start with The Secret Service and then return to this. While it may stand on its own, it will have a whole lot more depth with the background for you.

Kingsman: The Golden Circle

Cleverman (Series 1 & 2)

[3 stars]

If it weren’t for the politics and events of the last 8 months or so, Cleverman would just be a middling science fiction series discussing the endemic social schisms that exist today. Despite some good, as well as internationally recognizable talent such as Iain Glenn (Game of Thrones) and Frances O’Conner (The Missing), it is often ham-handed and rushed.

The first series was intriguing on a purely cultural level for me. Out of Australia, this show uses the aboriginal myths and template to posit a recently discovered race of long-lived, powerful hominids that have co-existed with humans. All manner of racism and fear ensue (and a lot of really, really bad wigs). But by crossing the idea with aspects of The Dreaming, other metaphysical concepts, and some truly screwed up families, you got enough to keep you watching the journey of the main character played by Hunter Page-Lochard (The Sapphires). It built to an inevitable crescendo of violence that ensured you’d watch the next series.

Series 2 improved a little in its subtleties and information. We get to understand more…and cringe more. The family drama continues to compound and the relatively unknown Rob Collins tries to bring credibility to a ridiculously overwrought story-line. With only six episodes again this series, the writers were forced to rush their ending and left us hanging in rather frustrating, if again intriguing, ways. I (think) I know how they write themselves out of the final moments, but I’ve no clue where they are going to take it from there that won’t make the series more Planet of the Apes than, say, Gattaca.

Generally, Cleverman isn’t a great series, but it is probably different enough, and short enough in episodes, to keep you hooked. Given the improvements from the first series to the second, I’m hoping that a final or continuing series will continue to build on lessons learned.

Cleverman

Man in an Orange Shirt

[3 stars]

Man in an Orange Shirt manages to be something different than your standard coming out story. First, it spans two time periods (1940s/50s and the present), following a family line. Second, it looks beyond just the personal turmoil of the men involved.

Director Michael Samuels had some advantage tackling this kind of story having previously delivered Any Human Heart, which also spanned decades and characters. But the surprise for me here was was Patrick Gale’s script. He managed the subtleties and range of characters so well even though this was his first major script. While it feels like a standard tale at first, it takes some rather interesting turns by the end to pull everything together. It is at once romantic and bluntly honest and cruel, though it ultimately is a tale of coming to terms rather than a tragedy.

The cast has a lot to do with the success of the 2-part drama. Joanna Vanderham (What Maisie Knew), James McArdle (The Worricker Trilogy), and Oliver Jackson-Cohen (Emerald City), from the WWII era are a wonderful collection of contradictory desires and beliefs. In the present, Vanessa Redgrave (Foxcatcher), Julian Morris (Pretty Little Liars), and David Gyasi (Containment) capture current times without losing the thread to the past. 

There are also a few nice, smaller roles with Frances de la Tour (The Lady in the Van), Julian Sands (Extraordinary Tales), and Adrian Schiller (The Danish Girl). 

There are many stories about being closeted and accepting who you are. This isn’t limited to the LBGTQ experience, but that is the primary focus of stories of this sort. Man in an Orange Shirt opens itself to a broad range of emotional issues to bring you something more and different in the genre without losing its emotional impact.

Man in an Orange Shirt: The Complete Series [DVD]

The Dinner (2017)

[3 stars]

Welcome to an evening with family. Yes, that is every bit as good and horrible as you can imagine, especially with this crew. It does bear mentioning that the food looks amazing, however. Yes, I have a sleight obsession on this point and I admit it. But before you judge me, keep in mind that the food and the structure of the meal inform the flow of the film directly.

Created first in Dutch (2013) and then Italian (2014), both heavily recognized on the awards circuit, The Dinner has now arrived in an English version…clearly the core story (based on real events) has resonated around the world. And no wonder. It is powerful and the base familial conflicts will resonate with most people in one way or another.

It is a dark view of families, politics, and society and all the more disturbing because of how real it all feels. What makes it worth your time is the performances.

While Laura Linney (Nocturnal Animals), Richard Gere (The Second Best Exotic Marigold Hotel), and Rebecca Hall (The Town) all have their moments and arcs, it is Steve Coogan (The Look of Love) who really stands out in this film. His performance is subtle, at first, and builds speed and impact through till the end. His isn’t a pretty character, even at the beginning, but it is a compelling and curious one. To be honest, there isn’t a likable character among them , though there are (potentially) some sympathetic ones.

As he did with his script for Love & Mercy, writer/director Oren Moverman (Time Out of Mind) returns to the subject of mental illness and society, though from a very different perspective. The story takes an evening among family and slowly allows it to desolve in the present while providing glimpses of the past to add context. It is an intensely uncomfortable set of exchanges, but hard to turn away from as it unfolds.

I haven’t seen the other versions of this story yet. And, honestly, after this round, I’m not sure I want to. One time through this tale is probably more than enough, but it is worth that one meal. You can always go to a different restaurant another night.

The Dinner

Their Finest

[4 stars]

Let’s start with the important part: you wan to see this film, despite any of its weaknesses. As well as being topical, it satisfies in unexpected ways. Now on with the rest of it…

Earlier this year there was another Dunkirk-based story, though from quite a different angle than Christopher Nolan’s. Lone Scherfig’s (An Education) takes on the event after-the-fact and from the propaganda office side, using it as an inspirational tale for the world. It becomes both an insightful and entertaining look inside film-making as well as into the politics and culture of WWII London during the Blitz. 

Gemma Arterton (Girl With All the Gifts) puts on a great Welsh accent and a delightful naivtee tempered with an inner strength and bruised heart that comes together in a satisfying and intriguing character. She spars with Sam Claflin (Me Before You) in amusing ways as the two find their way to one another in the midst of the chaos of the war, their lives, and their jobs.

Rachel Stirling (Bletchley Circle) and Bill Nighy (Second Best Exotic Marigold Hotel) are the most notable characters supporting the two leads. Both provide some good humor and subplot. In addition, Jack Huston (Kill Your Darlings), Jake Lacey (Miss Sloane), Eddie Marsan (A Brilliant Young Mind), and Helen McCrory (Fearless) fill out the time, city, and touch points necessary to complete the tale.

As much as I enjoyed the movie, and I did, the adaptation is rather meandering. Gaby Chiappe’s first feature script is ultimately effective, but not crisp. It comes back together well, but the focus is all over the place, making it feel like it wanted to be a mini-series more than a single movie. This is no surprise as she is primarily known for TV series scripts (typically good ones), but it definitely shows promise for future films. I’d love to see what she does next. 

Trust the journey Their Finest lays out for you and take the ride. It will take its time getting there, but it does get there. I can’t tell if I like how it was constructed or if my misgivings are simply expectation highlighted by the commentary provided in the story itself (in terms of what audiences want). However, both in performance and message, this is a movie worth the time invested on several levels.

Their Finest

Marvel’s The Defenders

[3 stars]

One of the biggest challenges coming into this collective mash-up was that each of the prequel/origin series had very distinctive styles. Daredevil was a sort of stylized, dark police/action series. Jessica Jones was a gritty, street detective show. Luke Cage was borderline black exploitation, but with a positive flare. Iron Fist was much closer to pure martial arts comic book than anything else, and with a weak lead to drive it.

This is is also the first time I’m aware of multiple shows feeding into a single new entity (and done so with intent, not a temporary cross-over or spin-off). Aspects and mysteries from each of the shows come up and are woven back into a single tapestry for a sixth season climax (Daredevil has had two seasons already). You just have to appreciate the audacity of it, if not always the execution.

The melding of the styles actually worked rather well; the first half of the season spent time mixing them together into a blend of something that absorbed aspects of each. They also didn’t immediately form the team, for which I was grateful. The Defenders are an uncomfortable alliance of, often, reluctant heroes. Fate and The Hand insist on throwing them together, but sometimes they’d rather be throwing each other. It makes for some nice moments of tension and humor, as well as the iconic Marvel “moments in the restaurant.”

In addition to our main heroes (and enemies), adding Sigourney Weaver (A Monster Calls) to this cast was a a coup. She plays one of the most quietly competent and confident leaders of the opposition I think I’ve seen. She never loses her cool or focus, though she  does manage to show some levels.

But as a series unto itself, as clever and fun as it is, the entire plot rests on the shoulders of the Iron Fist. Frankly, Finn Jones is just not up to the job. He comes across as immature and petulant rather than as broken and troubled while trying to find his way. It weakens the result and keeps you from emotionally committing to the effort. You just want to slap sense into the man-boy. It particularly makes the events leading to the climactic reveal feel silly. The ongoing reluctance of Daredevil’s sidekicks was a drag on the story as well, though it is handled significantly better.

Ultimately, the series goes where you’d expect, which is fine. This is a super-hero trope and the journey is as important as the results. The fact that clues to it are throughout the previous five series is really fun. I do want to see what comes next, but I’m hopeful/hoping that the focus will be on a different character, and that Danny Rand will finally grow into his long pants and be a bit more Tony Stark than Pee Wee Herman (and aren’t there golden fists jokes to be made there?). But you do have to see this if you’ve committed to any of the previous lead-ups just to see the other characters grow. It certainly isn’t wasted time, but I had hoped for something better given the strength of the other three leads.