Bombshell (2019)

Bombshell

I’m not a feminist, I’m a lawyer. When Gretchen Carlson (Nicole Kidman) is fired following her on-air revelation that she supports an assault weapons ban, she slaps conservative TV channel Fox News founder and CEO Roger Ailes (John Lithgow) with a lawsuit alleging sexual harassment.  But nobody comes forward to provide evidence of similar experiences, not even her protegée, Kayla Pospisil (Margot Robbie) who migrates to the Bill O’Reilly show, is fired her first day and takes the back elevator to Ailes’ office in her quest for advancement. Eventually Gretchen’s decision leads to Presidential hopeful Donald Trump’s bête noire, Fox News correspondent Megyn Kelly (Charlize Theron) coming forward with her own story, as well as multiple other women, eventually bringing the channel’s owners, the Murdoch family, into the fray... He handed me the power to hurt him. I’ve said it before and I’ll say it again, when it comes to explaining the way the world turns, it has fallen to America’s comedy auteurs to Show and Tell. And here it’s director Jay Roach invading the body politic once more after the TV dramas Recount, Game Change and All the Way as well as the feature Trumbo. Humour helps but doesn’t really feature in this tawdry tale of three contrasting women who have oddly similar looks in the Barbie-style legs-out fashion cultivated by Ailes – and one scene where all the on-air women presenters are Spanxing it up and shoving five-inch heels onto their calloused feet shows the compromises intelligent gutsy women make visually to make it professionally on US TV, at least on Fox News. Theron’s transformation into Kelly is really something – she wears her work look as if she’s armed for war and her decision to finally take it to the bosses, with the backing of her husband Douglas Brunt (Mark Duplass) at the same time as having to battle Trump mania in Summer 2016, tacks sharply when she allows the Presidential hopeful to get away with his menstruation Tweet, to her husband’s disgust. But, as she reminds him, she has to pay the bills. Kidman is good as the woman who has had the sense to record her meetings with Ailes, but is then sidelined with money and an NDA (maybe); and Robbie is impressively touching as the amalgamated character ‘Kayla’ who succumbs to Ailes, believing everyone else must have done it to get ahead (To get ahead, you have to give a little head, as Gretchen regales her lawyers). When Kayla crumbles at the truth, it’s devastating. The fact that these women believe in the political piffle they peddle is what makes the film hold its fire because Kate McKinnon is cast as a secret Lesbian Hillary-supporter in their midst making the politics of it weaker in every sense; and there’s a pretty ludicrous scene when Ailes’ wife, newspaper editor Beth (Connie Britton) has her assistant ask if her sushi lunch is too liberal. (Perhaps it is this very daftness that makes the film’s point). And while the women’s histories shares similar contours, they do not support one another and Kelly’s producer Gil (Rob Delaney) reminds her that all the production team’s jobs are on the line. However Charles Randolph’s screenplay is fast-moving and literate, and there is great use of archive footage.  The female cast are just outstanding, with Lithgow quite horrifying as the disgusting old man who once hobnobbed with Nixon but now intimidates ambitious young women into hoicking up their skirts and a lot worse. The biggest irony? Rupert Murdoch (Malcolm McDowell) gets to save the day. Sigh. Inspired by the accounts of the women who reported their experiences of harassment. Rule number one, Corporate America:  You don’t sue your boss

Elephant (2003)

Elephant

Get the fuck out of here, shit is going to happen. John (John McFarland) is being driven through the suburbs to school by his drunken father (Timothy Bottoms). Alex (Alex Frost) is a talented pianist being bullied at Watt High School, Oregon. He and his best friend slacker Eric (Eric Deulen) play video games, watch a documentary about Nazis, have sex in the shower and load up on guns. On their way into the building wearing camo gear and carrying black bags, Alex warns John not to go in. Elias (Elias McConnell) goes round the hallways photographing other students before going to the school newspaper office to develop his pictures. Nathan (Nathan Tyson) leaves the football field with girlfriend Carrie. Bespectacled outcast Michelle (Kristen Hicks) runs through the corridors and escapes to the library to avoid sports. Three bulimic girls gossip and end up in the Ladies’ Room. When the boys fail to explode propane bombs and prowl the corridors and library shooting everyone on sight, Acadia (Alicia Miles) freezes and Benny (Bennie Dixon) helps her escape through a window … Damn, they shot him. Gus Van Sant’s meditative exploration of the moments leading up to a Columbine high school-like massacre looks and feels less assured than it did upon release. Perhaps because unlike its source material (Alan Clarke’s BBC film Elephant, which was about sectarian politics in Northern Ireland) it is politically rootless unless you regard teenage alienation as justification for genocide and the inclusion of a TV documentary about Nazism adequate as rationale for unleashing senseless violence upon your contemporaries. Perhaps that is the point – that children and guns are just not a good mix, teenagers are unknowable and basically ungovernable, allowing them too much time on their own is a really bad idea because literally anything could happen in those burgeoning adults. The over the shoulder tracking shots down the school corridors and their repetitive nature bring us back to the same moments again and again giving the narrative a poetic rhythm and spatial familiarity, as does the auditory track which occasionally lapses into silence and then white noise, particularly when Alex is sitting in the cafeteria and we get a hint of the killings to come. There is no doubt that the very boring nature of the scenario and the real-time pacing lends an incremental tension to the situation. The biggest problem here is that the affectlessness of the protagonists means a conventional drama cannot be constructed and a moral is hard to discern while the filmmaker is attempting to get into these boys’ brains. That is the core of the story: there are things that people simply cannot get to grips with. The moment when a teacher approaches a student who’s just been shot dead at a classroom door and treats it as if it’s normal is simply staggering. Screenplay by Van Sant with controversial ‘memoirist’ JT LeRoy and Diane Keaton credited as producers on a project that started life as a documentary. Most importantly, have fun

I Am Heath Ledger (2017)

I Am Heath Ledger wide

He felt life deeper than anyone I ever met. The first time I saw Heath Ledger in 10 Things I Hate About You I was stunned. A star was born, in his first film. He had started out without training in his native Australia, enjoyed what a friend terms ‘a sentimental education’ in his first serious relationship, with actress Lisa Zane when they co-starred in the TV series Roar, and bounded into an audition in Hollywood and got it first time out. He signed with an agent, Stephen Alexander, himself a newcomer to the industry and together they created his career. Acting is thinking about the world about you and the person you are. He was conscious of his lack of professional training and never went anywhere without a camera, shooting footage of himself prepping for roles and this documentary directed by Adrian Buitenhuis and Derik Murray demonstrates the extent to which Ledger taught himself and built characters, paying attention to how he looked, moved, spoke, interacted, responded. The film is replete with that personal footage and boasts a narration excerpted from interviews Ledger did. He couldn’t turn down the opportunity to star opposite his icon Mel Gibson on The Patriot but suffered a crisis of confidence: Mel taught him to come in and out of character. His face was plastered over billboards to publicise A Knight’s Tale, a rollicking mediaeval lark that sent itself up anachronistically and he couldn’t handle the publicity machine’s requirements. He wanted fame but then when he got it, he didn’t want it. By the time Brokeback Mountain came around, he was ready. The film changed his life. Director Ang Lee wasn’t sure he could do the role but he said Ledger’s mouth was like a clenched fist, people had the impression that he barely spoke when in fact he had the most lines in the film – he just delivered them in a way that made you think he hadn’t said a word. He met Michelle Williams on set and they became parents to baby daughter Matilda, whom he adored. His appetite for life was astonishing:  he had energy like nobody else, sensing his time on earth was limited. His favourite place was Burning Man. He brought his friends from Perth there and to his home in California. He was an enthusiast particularly for Nick Drake with whom he felt a kinship, along with other musicians who died young, like Janis Joplin and Kurt Cobain. He phoned and emailed at all hours of day and night; he turned up on people’s doorsteps for breakfast at five thirty and six AM;  he shot photos constantly and made music videos and surprised people with his ability to use cameras, to choreograph, to direct:  He had command of his vision. He was an artist first and foremost. He formed a company and intended directing features:  his first project was supposed to be The Queen’s Gambit –  he was so good at chess he was just a few points away from being a Grand Master. When he was offered the role of Joker in The Dark Knight he was fully confident. He had mastered the art of screen acting. He owned the part and he knew it. It would win him the Academy Award and many others, but they were posthumous. There are interviews with his friends, family, co-workers and those with musician Ben Harper and Naomi Watts are especially perceptive and emotional. Their hurt at his loss is palpable. His end was desperate:  he was working with Terry Gilliam on The Imaginarium of Dr Parnassus with his sister alongside him in London as his assistant. He became seriously ill with pneumonia in terrible conditions – he was exhausted from the damp and cold, being held upside down from a bridge with water being poured on him didn’t help. He said his sleeping meds weren’t working and he couldn’t stop his mind racing, as dialogue coach Gerry Grennell recalls. He returned to an apartment in New York and the guy who spent his life communicating with people night and day suddenly wasn’t answering the phone. He was found dead 22nd January 2008.  He was just twenty-eight years old. This is a tender and thoughtful account of a brilliant and uniquely gifted young man and his death was a tragic loss to cinema. What he achieved as a major screen actor in a decade is unforgettable. Life is so short and it seems like a blink of an eye since I sent a text message to people during The Dark Knight, YOU HAVE TO SEE HEATH LEDGER!!! Written by Hart Snider. He always said, I have a lot to do. I don’t feel I have a lot of time

Heath Ledger with camera

The Accused (1988)

The Accused

There’s a whole crowd. Twenty-four year old Sarah Tobias (Jodie Foster) hangs out at The Mill bar where her friend Sally Fraser (Ann Hearn) is waiting tables. She is gang-raped on a pinball machine by three men who are egged on by a gathering of onlookers, one of whom Ken Joyce (Bernie Coulson) runs out to a phone booth to call the police. In hospital Sarah meets Assistant DA Kathryn Murphy (Kelly McGillis) who prosecutes the case but agrees to a deal which will ensure they serve time because she fears Sarah’s history and her drinking on the night in question will make her a poor witness. However Sarah is angry and rams the car of one of the men who led the cheerleading during her rape and Kathryn feels guilty, deciding to go after the men who encouraged the crime … She put on a show, pure and simple. Inspired by the notorious 1983 gang rape perpetrated upon Cheryl Araujo, this controversial film has lost none of its power. Foster is stunning as the ornery, spiky, confrontational yet eager to please working class girl while McGillis is solid as the prosecutor who feels guilt at betraying her client and then pushes for a fresh trial of the men who cheered on the violent crime. Screenwriter Tom Topor was hired by producer Dawn Steel when the Araujo trial became a national talking point and he interviewed dozens of victims, rapists, prosecutors and doctors to hear their stories and point of view. The inclusion of the reenactment is the difficult issue that remains – and it’s a tough one to decide whether it is necessary:  perhaps the depiction proves the point that nobody ever believes the woman and those who do are never going to admit it much less say they are the guilty parties. It is playing this card that actually gives the film its authority and resonance not least because a point of view camera is involved and Foster’s vulnerability is paradoxically exploited. More than that, the film tackles the immediate and impersonal aftermath of reporting a rape, the portrayal of rape in the press, the acceptance by women (it’s truly terrible when the friend turns a blind eye and runs out of the bar), the inevitability of victim blaming and shaming and the overwhelming stench of testosterone in the male-controlled world that sees women as lucky receptacles whether they like it or not. This collision of plain pictures and words speaks truth to power. Directed by Jonathan Kaplan, who has such empathy for young people and such a gift for establishing time and place:  after all, this is the guy who made Over the Edge, probably the greatest film about teenagers. It was Foster’s first film after graduating Yale and if it hadn’t been a success she intended retiring from acting. She won the Academy Award for her magnificent performance. I kept saying No

1917 (2019)

1917

If you fail, it will be a massacre. During World War I in the trenches close to the front line, two British soldiers Lance Corporal Schofield (George MacKay) and Lance Corporal Blake (Dean-Charles Chapman) receive seemingly impossible orders. In a race against time, they have to cross over into enemy territory to deliver a message to the Devons Regiment – not to go over the top, in a change of plan that could potentially save 1,600 of their fellow comrades including Blake’s own brother from falling into a German trap... Brimming with award season nominations, already garlanded with some and its director and co-writer Sam Mendes (with Krysty Wilson-Cairns) pronouncing on the virtues of pacificism, this is chiefly noted for the supposed virtuosity of its being an apparently seamless one-take drama shot by cinematographer Roger Deakins. Newsflash:  it is a dull and irritating exercise entirely lacking in character development, boasting minimal plot, cursory and random dialogue, little forward propulsion until the 75th minute and thereafter it continues to play out in real time, with a wholly foreseeable ending. What is the problem? The script, the script, the script. It’s unthinking, immature and poorly conceived. The camera has a perspective, the script lacks a point of view. World War 1 was a senseless slaughter of boys led by blinkered generals. There are images of bodies both human and animal. Death was in the trenches and in the air. We know. There are great war films, and not just about World War 1, although La Grande Illusion, All Quiet on the Western Front, Gallipoli and Paths of Glory immediately come to mind when that subject arises. World War 2 has a plethora, most recently, Saving Private Ryan, which sensibly – necessarily – pulls back from its extraordinarily immersive half-hour opening sequence at the Normandy Landing to give the audience a breather from the shockingly unleashed violence and drive towards death and to establish characters, context and narrative.  It is a classic of modern cinema. Dunkirk attempts to converge three stories in parallel without having a scintilla of memorably comparable affect because it seems, like another of Christopher Nolan’s films, Inception, to derive from a gamer’s sensibility, visor firmly clamped around the viewer’s eyes to prevent any kind of peripheral vision (like this). Elem Klimov’s Come and See is an astonishing – almost incomparable – film that lingers long in the memory for its brutal tale of a teenager on the Russian front lines. Hamburger Hill tells the ‘Nam story from the perspective of grunts and it’s devastating; Apocalypse Now takes a literary exercise and converts it to cinematic hallucination. I could go on. This? A cameraman tracks back for ten minutes in an unaltering medium two-shot in a trench making for a queasy opening, and then follows the pair of protagonists until two inevitably become one; then he enters a nightmarish world of a (finally) changing landscape and the dreary grey palette of northern France (actually Wiltshire) gets some studio lighting at last. The idea of presenting the story in real time derives from a mistaken sensibility that has a paradoxically theatrical affect preventing any level of deep character engagement:  and on that subject, it would help to have an attractive protagonist. MacKay communicates precisely nothing but he is given very little to work with. Ordinariness has its own rewards, just not for an audience. There is an old saw that goes, Don’t shoot the messenger. Well, if they had shot the right one, they might have had a film. Ostensibly, this is a film about war. Actually, it’s a film about avoidance. Hope is a dangerous thing

I Am Paul Walker (2018)

I Am Paul Walker.jpg

He was always known as The Vagrant. The horrific death of actor Paul Walker in a car crash in November 2013 shocked the world. How could this action movie star renowned for his own very careful piloting of vehicles have occurred? A friend was driving the Porsche Carrera and both were burned alive in a car park after crashing into a tree. A really good driver. Conscientious at all times. He was in the middle of filming Fast and Furious 7 at the time. This painful documentary departs from that story until the final sequence and is concerned with interviewing many people in Walker’s life, starting with his tightknit working class Mormon family, drawing on his background in Tujunga, California, and the fierce loyalty to his many friends whom he employed to keep himself sane in the wake of success. A picture emerges of a surfer dude whose mom had taken him to auditions as a young child and who impressed people like Michael Landon with his abilities. He didn’t want to continue acting as an adult and indulged his pleasures for a time. That guy made the best of every single moment. He grew up tall – six three – and liked a gnarly fun lifestyle and his surprise casting in Pleasantville led to an introduction to filmmaker Rob Cohen whose first film with him was not entirely a success but would lead to The Fast and the Furious franchise that made Walker a movie star. Uncomfortable with publicity, he had to deal with an unplanned pregnancy and worked hard to support his girlfriend’s desire to escape to Hawaii with their baby daughter Meadow in order to further her education. His fascination with marine conservation was all-consuming and his happiest times were spent tagging whales yet he had a certain legacy to deal with that informed his approach to life – his maternal grandfather was a WW2 veteran who set a landspeed record using a road car at Bonneville in the Fifties;  his paternal grandfather Paul Walker II was a famous boxer; and his own father (Paul Walker III) was a tough guy who served as a marine in Vietnam and was a crack shot. The picture of masculinity that emerges is powerful and deep-rooted. He liked to do exciting things. He wanted to stop making films but he felt overwhelming financial responsibility to his family members and those friends of his who were part of his entourage on each Fast production: kindness superseded his desire to escape to his off-grid home. Everyone would come to him with their problems, as one of the guys observes. Nobody has a bad word about this astonishingly handsome, nice, thoughtful action man who suffered such a brutal ending. Touching? That barely covers it. Directed by Adrian Buitenhuis using a huge variety of home movies, archive, newsreel and personal interviews but the horror of Walker’s senseless death overshadows the film in a way these words and pictures cannot overcome. Success to me is balance in life

 

Smilla’s Sense of Snow (1997)

Smillas Sense of Snow.jpg

Aka Miss Smilla’s Feeling for Snow.  The devil assumes many forms. Copenhagen police say otherwise, but amateur scientist Smilla Jaspersen (Julia Ormond) who studies ice crystals in a university lab thinks her young Inuit neighbour Isaiah (Clipper Miano) was chased by an adult before he fell to his death from the roof of their apartment block. The daughter of an Inuit who spent her childhood in Greenland, Smilla learns that the boy’s father died while working for Dr. Andreas Tork (Richard Harris) in Greenland who heads a mining company and she is directed by former accountant Elsa (Vanessa Redgrave) to get an Expedition Report from the firm’s archive.  She asks her father Moritz (Robert Loggia) for help interpreting the information but has to deal with his young girlfriend who resents her interference in their life. After sharing her murder theory with a mysterious neighbour called The Mechanic (Gabriel Byrne) who never seems to go to work, she pursues her suspicions and her life is endangered as the impact of a meteorite hitting Greenland in 1859 is revealed in a reanimated prehistoric worm which proves toxic to human organs Why does such a nice woman have such a rough mouth? Peter Høeg’s novel was very fashionable in the Nineties and encompasses so many issues – identity, language, snow and ice, ecology and exploitation, friendship and bereavement, medical issues, astronomy, being far away from home, being motherless … that you can quite see how difficult it would be to fillet from this a straightforward thriller which is what the cinema machine demands. Ann (Ray Donovan) Biderman does a good job streamlining the narrative threads which form an orbit around Ormond who has a tremendous role here but director Bille August doesn’t really heighten the tensions  sufficiently quickly that they materialise as proper threats. What works as a literary novel seems rather far-fetched on screen when stripped of all those beautiful words. Nonetheless it’s a fascinating story and it’s a shame Ormond’s feature career never had the momentum it once seemed to possess. Costuming by Marit Allen. The way you have a sense of God I have a sense of snow

Deep Impact (1998)

Deep Impact.jpg

This is not a videogame, son. One year after teenage astronomer Leo Biederman (Elijah Wood) spots a comet the size of Mount Everest heading for Earth, journalist Jenny Lerner (Téa Leoni) mistakes the scoop of a lifetime for a story about the mistress of the US President Beck (Morgan Freeman). Once she’s allowed into the loop of the Extinction Level Event with the rest of the press pack she finds that with one year to go before it could hit the planet there’s a plan to build a system of caves while a joint US/Russian spacecraft nicknamed Messiah being led by veteran astronaut Captain Sturgeon Tanner (Robert Duvall) is going to try to intercept its path with nuclear weapons … People know you. They trust you. A disaster movie par excellence, this mixes up men on a mission and race against time tropes with ideas about God, friendship, family and the all-pervasive sense of doom that settles upon people learning of an entire planet’s imminent destruction and how they deal with it. Leoni doesn’t quite have the expressivity to offer a mature performance although her particular role is buttressed by the subplot of her unhappiness at her father Jason’s (Maximilian Schell) new marriage while her beloved mother Robin (Vanessa Redgrave) suffers. However the entire drama is well structured and tautly managed. Written by Bruce Joel Rubin and Michael Tolkin (as a vague remake of When Worlds Collide, 1951) and expertly handled by Mimi Leder, better known for TV’s ER, some of whose alumni feature here. Let’s go home

The Big Chill (1983)

The Big Chill.jpg

I haven’t met that many happy people in my life. How do they act? Following the funeral of Alex, who committed suicide, a group of his former college friends gather for a reunion at the South Carolina holiday home of their mutual friend Harold Cooper (Kevin Kline) and his doctor wife Sarah (Glenn Close) where they remember some of their best times but are forced to re-evaluate their lives. Sam (Tom Berenger) is a successful actor headlining a TV show; Meg (Mary Kay Place) is a real estate attorney who wants to become a mother but has no romance in her life; Nick (William Hurt) a Nam vet and former radio host; Michael (Jeff Goldblum) is a journalist writing for People magazine; Karen (JoBeth Williams) is married to Richard (Don Galloway) and he takes their boys home while she stays on and tries to resolve her feelings for Sam. Chloe (Meg Tilly) was Alex’s last lover and it appears she moves from man to man in quick succession … Nobody said it was going to be fun. At least nobody said it to me. Lawrence Kasdan’s loose remake of John Sayles’ cult low budget film Return of the Secaucus 7 is a very satisfying look at the perils of friendship into adulthood and early middle aage following years of distance, estrangement and misperceptions. A sensational cast brings to life a very disparate but charismatic bunch who may never have really known each other at all. Over the course of a few days when they eat, drink, smoke dope, watch TV, dance, jog, argue about politics and work and have sex, they learn what everyone is really like in a kind of post-Vietnam/baby boomer version of La Ronde. It’s never tacky, the friends and their issues are navigated with care and no little tension and it’s beautifully played by an extraordinarily gifted cast mourning a man whose death by suicide casts questions on everyone’s life choices making each character wonder whether they have actually grown up at all. Alex’s corpse was famously played by Kevin Costner, whose scenes were cut however the titles sequence gives us glimpses of him as he is alternately dressed for his coffin and drives his Porsche along the road. A striking piece of work. Written by Barbara Benedek and director Lawrence Kasdan. You know this day most of all we should remember we’re friends

Georgy Girl (1966)

Georgy Girl.jpg

You know, the trouble with you is you could say that you’re a good girl. Awkward 22-year old Georgy (Lynn Redgrave) is the musically talented daughter of parents who live in at the home of their employer James Leamington (James Mason) whose wife Ellen (Rachel Kempson) is dying. He has always taken a paternal interest in Georgy but finds his feelings are evolving and asks her to be his mistress. Georgy’s flatmate musician Meredith (Charlotte Rampling) leads a hedonistic lifestyle and finds herself pregnant by boyfriend Jos (Alan Bates) who marries her despite feeling attracted to Georgy when he moves into their flat and the pair commence a surreptitious affair… She was a beautiful woman – beautiful! Tolerant. Civilised – and about as exciting as a half brick. Even if you’ve never read Margaret Forster’s wonderful novel you probably know the title song performed by The Seekers but really this is all about Lynn Redgrave, who gives a great performance as the far from glamorous woman who is catnip not just to Mason but to Bates but wants nothing more than to be a good mother. She’s totally delightful in a film that swings, with Mason marvellous in a role that practically demands some moustache-twirling, such is his lasciviousness in his native Yorkshire tongue. The scene where Bates strips off unaware that a care worker is visiting the flat and Redgrave is pretending to be a nanny is just priceless. Rampling shines as the feckless Meredith who doesn’t have a maternal bone in her beautiful body and the portrayal of disenchanted motherhood is groundbreaking in its lack of sentimentality. Even so, this is relentlessly upbeat and contrives a fantastically apposite happy ending to a brilliantly offbeat set of relationships. How much more fondly can a film look upon its characters? Adapted by Forster and Peter Nichols and directed by Silvio Narizzano. God’s always got a custard pie up his sleeve