Tag: UK

Suffragette

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★★★
“Worthy, rather than worthwhile”

suffragetteI generally find that films based on historical events, which also feel the need to make up entirely fictional characters, occupy a bit of an awkward middle-ground, as if they want both to be documentary and drama. Such is the case here, with a somewhat clumsy combination of  people who actually existed, such as suffragette leader Emmeline Pankhurst and Emily Davison, who was fatally injured in a protest at the 1913 Derby, with an entirely made-up heroine, Maud Watts (Mulligan). She works in an East End laundry, but become part of the burgeoning movement to win women the vote, after her trip to the House of Parliament, in support of a colleague testifying there, turns into Maud having to speak on behalf of her friend. As Maud’s commitment to the cause grows, she is jailed, her marriage breaks down and she loses custody of her son, but remains unwavering in her support. Indeed, she becomes more militant, alongside chemist Edith Ellyn (Bonham-Carter), with the group moving into more hardcore methods of protest.

I can’t argue with the performances here, which are, almost without exception, upper-tier stuff: Mulligan’s transition from laundry lady into crypto-terrorist is particularly well-handled, bringing the audience on the journey of enlightenment with her. The problems are more elsewhere. That this is based on history – and well-known history at that – means there is precisely zero tension here. We know they’re going to end up getting the vote – though it didn’t happen, on even the most limited terms, until after the Great War, years after the events depicted here. So scenes like the protest at Parliament, where David Lloyd-George announces there will be no change in the law, and Maud is arrested for the first time, have little or no impact. The script also borders on the misanthropic: between abusive husbands, an abusive boss and a police officer (Gleeson) devoted to bringing the movement down, there is literally not a sympathetic male character to be found here, except perhaps Edith’s husband, who is so bland and uninteresting, you’ll forget him entirely.

The film climaxes with the events of that Derby Day, and again, the impact is diluted since we know it’s going to end in Davison’s death (the question of how intentional or accidental it was remains unanswered; naturally, the film frames it as an act of heroic martyrdom). The movie ends in newsreel footage of the subsequent funeral, without giving Maud any particular closure, and she just happens to be nearby at the time, a fortunate observer to a pivotal moment in history. A few captions fill in the blanks, and everyone heads off for a nice cup of tea. For it’s all terribly British, mostly replacing righteous anger with polite indignation, and despite Mulligan and her crew acting their crinolines off, is only somewhat successful at capturing the passionate beliefs that I sense these women actually held.

Dir: Sarah Gavron
Star: Carey Mulligan, Helena Bonham Carter, Brendan Gleeson, Anne-Marie Duff

Journal of a Contract Killer

  By

★★★
“The hits just keep on coming…”

journalStephanie (Powell) had been an assassin for the Italian Mafia, but had abandoned that life and settled down in London with her daughter. Years later, she is shocked to see her former lover, Alessandro (Canuso) show up at her job, and even more so when she gets an order she can’t refuse from her old employer, Franco (Gambino) – to kill Alessandro. Despite some qualms, not least how the family will react to her taking out one of their own, Stephanie carrier out the mission. But soon after, she finds herself being watched by the enigmatic Sam (Leese), who says he is there to protect her. Is that really the case, or does he have an entirely different purpose?

Maylam directed one of our favourite B-movies of all time, the post-apocalyptic monster flick, Split Second, starring Rutger Hauer. This isn’t anywhere near as good, though still made for an okay ninety minutes of entertainment. I think the main issue is Powell: not so much for her performance as such, more the stylistic choice made for it. I think the director and actress were going for a “dead inside” vibe, portraying Stephanie as someone who has had all emotion wrung out of them, through years of dealing death on a professional basis. It’s difficult to pull that kind of thing off while still retaining any sense of a likable character; Jean Reno in Leon is an example of it done well, but the results here come across much more as a flat monotone. There’s only one scene where Powell gets to let rip with unrestrained emotion, and it’s undeniably the film’s most effective sequence; you wish there had been more of this.

The story-line is well constructed, however, and it doesn’t pull its punches; there isn’t what you’d call a happy ending for anyone involved. Probably another misstep to claim the movie is inspired by true events, for that’s a label abused so badly for over four decades [at least since the days of Texas Chainsaw which, while inspired by real-life killer Ed Gein, utterly does not fulfill its poster claim: “what happened is true”], everyone I know immediately rolls their eyes and refuses to believe a word of it, whether actually the case or not.  In its favour, the film does remain restrained in terms of her abilities, with no sense of Stephanie being turned into some kind of superheroine. Instead, everything she does is plausible, though I’d like to have seen them devote more time to her shift from “hooker for the mob” to “hit-woman for the mob,” which seems sudden and jarring, involving little more than a random assassination of an innocent bystander. However, this restraint does perhaps lead to a lack of memorable moments; there’s not a surfeit of action either, despite what the trailer below wants you to think. Just go in expecting something low key, and you’ll be okay.

Dir: Tony Maylam
Star: Justine Powell, Adam Leese, Jake Canuso, Marco Gambino

Tiger House

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★★½
“It’s Die Hard… In an English suburb.”

Kelly (Scodelario) sneaks into her boyfriend’s bedroom, only to find herself stuck there, when a group of criminals invade the home, intending to use his father as part of a robbery. Before being captured, the boyfriend does manage to injure the gang’s leader, Shane (Scott), who is then laid out on the bed to recuperate, while the gang regroup and adjust their plans. Unfortunately, it’s the same bed under which Kelly – who was a promising gymnast, up until an unfortunate accident with a crossbow(!) – has hidden herself. With no apparent way out, can she save the rest of the family and escape her perilous situation?

tigerhouse

An attempt to cross the ever-popular “Die Hard in a ____” and home invasion genres, the performances here deserve a significantly better script, than the largely sorry procession of coincidences and implausibilities we get here. Oh, look! There’s a crossbow in the attic! And, wouldn’t you know it, Kelly still carries around in her handbag, the bolt which ended her sporting aspirations! What are the odds against that? Some of the crooks’ behaviour also falls into the category of idiocy necessary to the plot as well; they seem strangely oblivious to their surrounding for career criminals, even when Kelly is literally hanging off the banisters above their head.

Counterbalancing these problematic aspects, both Scodelario and Scott deliver well-rounded performances – all the more impressive for the latter, since 90% of his screen time is spent lying on his back. Kelly is shown early on to be a strong-minded and independent girl, not reliant on anyone, least of all her boyfriend, who all but vanished from the movie after he leaves the bedroom to investigate a middle of the night noise. Assistance is provided by Callum, the psycho henchman – standard for both the genres – played by Skrein who appears to have gone on to greater things, starring in the recent reboot of The Transporter. The same goes for Scodelario, who is now the female lead in the Maze Runner series.

Notably not yet going on to Hollywood fame is writer Simon Lewis. You can increasingly see why that’s the case, the further this goes on, with Shane inexplicably switching sides and other plot points requiring so much suspension of disbelief, you could use it to build a small bridge. While the idea of interbreeding these two types of action-thriller is not a bad one, and the suburban setting adds a claustrophobic element, the storyline is in desperate need of several stiff rewrites, on its way to an ending that does deliver a satisfactory amount of heroiney goodness – albeit still with a deficiency on the logic front. You’ll have to go through more contortions than the gymnastic lead, for your mind to swallow this one.

Dir: Thomas Daley
Star: Kaya Scodelario, Dougray Scott, Ed Skrein, Langley Kirkwood

Bait

  By

★★★
“Tea and no sympathy.”

baitBex (Smurfit) and Dawn (Mitchell) are partners in a market-stall selling coffee and cake, and have dreams of opening a “proper” coffee-shop, but lack the necessary funds to do so. Traditional sources of money, such as banks, turn them down, so when Dawn’s new boyfriend, Jeremy (Slinger) turns out to be an angel investor, it seems too good an opportunity to be true. Which, of course, is exactly what it is, because Jeremy turns out to be the acceptable face of a very brutal loan-sharking operation. Even though they actually refuse his money before accepting it, he insists on them paying for his time, an amount which rapidly escalates out of control. It’s clear Jeremy will stop at nothing to extract payment, and demonstrates exactly that savagery, on both women, as well as their loved ones. Gradually backed into a corner, there’s only one way out for Bex and Dawn; be every bit as ferocious and merciless.

It probably helps that Smurfit and Mitchell have been friends since their drama school days, and their easy relationship comes over as entirely natural – though non-native British speakers may occasionally want to opt for subtitles! [Hell, I found myself straining my ears on occasion, having clearly been out of the old country for too long…] It’s very much a long, slow descent into hell, with the women on the receiving end for more than 80% of the movie before – and I trust this isn’t much of a spoiler here, given the film opens with a blood-stained Dawn slumped by a bath – finally getting to unleash their fury in a gore-drenched finale.

While certainly satisfying on a visceral level, this comes over as somewhat far-fetched, with neither woman having demonstrated any real tendencies for aggression; the “defending the family” approach only goes so far, not least because it’s the child-less Bex who goes furthest. Not that Jeremy doesn’t deserve it; Slinger comes over as a psychotic version of Simon Pegg, and it’s crucial that the film creates a villain who is both monstrous and believable. Be sure to stick around after the credits for a spectacularly splattery bit of claymation from maverick film-maker Lee Hardcastle, which is just glorious; it almost suggests a sequel where Bex and Dawn turn into a hardcore, British vigilante version of Thelma & Louise.

Must admit, I’d probably have preferred to see that, with the set-up here taking longer than necessary – for example, is there any reason we need to see quite so many scenes of Jeremy and his sidekick extracting payment? Still, the final payback is fully deserved, and gleefully shot by Brunt, leading into a coda which suggests a new, steely determination and “take no shit” attitude as a result of the hell through which the heroines have gone. It suggests an almost Nietzschean fable is being told, that what does not destroy you, in the end will make you stronger and help you achieve your goals. Seems more than slightly morally questionable, although maybe it’s just me!

Dir: Dominic Brunt
Star: Victoria Smurfit, Joanna Mitchell, Jonathan Slinger, Rula Lenska
a.k.a. The Taking

Fair Cop: A Century of British Policewomen

Video

  By

edithtmithThis month marks the 100th anniversary of the first British female police constable with the power of arrest, Edith Smith (right). The documentary below looks back at the history of women in the police force over the past hundred years, and how the role, attitudes (of both the public as well as their male colleagues) and even the uniform has changed during that time. Interesting to discover that the organized format started as the result of two effectively “vigilante” groups, who were formed to carry out volunteer patrols. One was mainly suffragettes, who were also fighting at the time for the right to work; the other, more genteel group of middle-class ladies, were the ones who obtained official sanction. At this time, the Great War was taking place, and just as World War II opened the doors to women in many areas, so did this conflict, with a large percentage of the male population being enlisted into the armed services.

Initially, women constables were tasked solely with handling children and other women – one of Smith’s main tasks was to address the prostitution problem, due to the large army presence near the town of Grantham where she was stationed. There were also restrictions which were not applied equally to men: they were forced to quit the force if they got married, it being deemed incompatible with the job. Some of these took a very long time to overcome; it wasn’t until 1994, for example, that policewomen in Northern Ireland were allowed to carry firearms for personal protection, something which had long been standard practice for men. But slowly, and not without some push-back, doors opened to other fields, from detective work through to the specialist units, and now certain areas have a majority female presence, such as the mounted police.  Now, there is no separation at all, something the film does acknowledge as not without its issues, in particular leading for a time to a horrendously primitive and uncaring approach to rape victims.

I think what I enjoyed most were the anecdotes told by the various women who had served, about their time in the police-force, and how they handled the situations in which they found themselves, which does a good job of bringing out the human side of the topic. Virtually every one of these officers comes over as resilient – likely a necessary attribute, I would imagine! – and sharp; the men interviewed largely praise the womens’ skills and abilities as equal to their own. It’s not a job I imagine is ever easy, and you’ll probably leave this film with a new-found respect for the women who take it on.

Let Us Prey

  By

★★★★
“The devil’s in the details.”

letuspreyI’m not religious, but I do enjoy a good religious movie. Say what you like about the Bible, it has some great stories, and inspiration for a ton of others [some day, I want to see the Book of Revelations filmed by Paul Verhoeven]. This certainly falls into the latter camp, but the small cast and claustrophobic settings work for it very well. On the way to take up a new post at a police station in a small Scottish town, Rachel (McIntosh) witnesses a pedestrian being hit by a joy-riding teenager, though the victim is nowhere to be found. Taking the perp to the station, the victim (Cunningham), known only as “Six” (after his eventual cell number), is located and brought to the station: but the doctor brought in to check his wounds tries to kill him. It becomes clear that Six knows a lot more, not just about Rachel, but her new boss Sergeant MacReady (Russell), and the other inhabitants of the station, on both sides of the bars. That’s dangerous knowledge, since some of those are definitely not intended for public consumption. Rachel, whose secret involved hurt done to rather than by her, has to figure out Six’s agenda – Devil? Angel? Bit of both? – to survive the night.

Right from the opening credits, depicting Six against a variety of ominous backgrounds, the creep factor here is severely amped up, and it keeps increasing the rest of the way – just when you think it’s reached its peak, O’Malley turns the screw another notch. It also benefit from very good performances. Cunningham has been a house-approved actor since Dog Soldiers, and exudes presence even when quite, as he is particularly in the early going, while McIntosh was striking in an equally disturbing film, The Woman, and brings much the same sense of physicality to her character here. The director has said one of the inspirations was the original Assault on Precinct 13, and I can see that; however, in a psychological sense, it felt almost like a psychological version of another John Carpenter film, The Thing, with people’s “inner monsters” bursting out to wreak havoc on those unfortunate enough to be around them. There are a couple of embarrassing mis-steps: at one point, for example, a character carefully and ostentatiously removes his glasses, only for them immediately to re-appear on his face! That kind of sloppy mistake is disappointing, and could easily have been avoided.

We also wondered why no-one makes much effort to call in external help, be that from another station or emergency service. For a while, I was thinking it was going to reveal that all the participants were dead already, which would have been a tough act to pull off. Does it end up going that way? I couldn’t possibly comment. But if they ever decided to make a sequel, we’d love to see it.  We watched this the same day as Jurassic World, and both my wife and I think this was the better movie.

Dir: Brian O’Malley
Star: Pollyanna McIntosh, Liam Cunningham, Douglas Russell

Our Girl

  By

★★★★
“GI Molly”

ourgirlMolly Dawes (Turner) has just turned 18, works in a nail-salon, lives on a council estate with her five siblings, pregnant mom and unemployable father, and has a Muslim boyfriend who is cheating on her. Oh, she looks kinda like a chav version of Daenerys Targaryen too, but given her unsurprising lack of dragons, has no apparent future. Throwing up at the end of a night out with her gal pals, she finds herself in front of an Army recruitment office, and decides it offers a potential way out from her dead-end life. Naturally, it’s not quite as easy as that, since her boyfriend is unimpressed, and her parents think the big announcement is that she’s pregnant. But she persists, and the film follows her journey through basic training, as the mouthy peroxide blonde turns into a combat medical technician.

Yes, it’s a fair criticism that this is heavily pro-Army, occasionally feeling like a recruitment video more than a movie. But it doesn’t soft-pedal the dangers at all. Indeed, a constant thread in the second half is Molly’s reluctance to write the “letter from the grave” required for all recruits, to be sent home in the event of their death, and perhaps the film’s most poignant moment has a ceremony at a war memorial, with a veteran reading John McCrae’s poem, In Flanders Fields. But the film’s biggest strength is undeniably Turner, an escapee from long-running British soap EastEnders. She captures perfectly the multi-faceted character of Molly, who wants more out of life, but has no apparent way to get it. In that aspect, this reminded me somewhat of Dangerous Lady, and I could see the heroine here ending up slipping into crime to escape her situation – and doing just as well. But Molly lacks self-confidence – describing herself as stupid even when that clearly isn’t the case – and that, along with the opportunity, is what the military provides.

There’s an interesting subplot where Molly talks about basic training with another recruit, who compares the Army to a cult, designed to break an individual down so they can build you back up the way they want. He means it disparagingly – and later is tossed out, as “unfit for Army service”, apparently not having fooled anyone. But the film seems to be making the case that this is not necessarily a bad thing, because the end product, particularly in this case, appears to be a much more productive member of society than the one who enlisted in the cult. Even if it’s also someone who is now estranged from her pals, her boyfriend  and some of her family as a result. Thought-provoking and engaging, this was turned into a five-part series, that I think I may now have to track down.

Dir: David Drury
Star: Lacey Turner, Flossy Grounds, Daniel Black

Restless (2012)

  By

★★★½
“Before she was Agent Carter…”

restlessWatching Atwell walking the streets of forties New York as British agent Eva Delectorskaya does little to dissuade you from the feeling that this could be a prequel to Agent Carter, telling about some of her wartime exploits, before she goes to work for the Strategic Scientific Reserve. There’s actually a good deal more going on: the two-part TV miniseries starts 30 years after the end of the war, when Sally Gilmartin (Rampling) reveals to her daugher, Ruth (Dockery), the truth about her identity as the former Miss Delectorskaya, recruited in pre-war Paris by British intelligence, after her brother is killed by fascists. After things kick off, she is sent first to Belgium, and then to New York where she works on efforts to get America into the war, and continues a relationship with her boss, Lucas Romer (Sewell). However, sent on what appears to be a simple courier mission to New Mexico, she finds evidence pointing to another agenda, and which suggests a traitor within the department. It’s this which leads to her going off-grid: but it appears her fake identity has been compromised back in the present day, with her home under surveillance, by person or persons unknown.

The vast spread of this, taking place over four decades or so, requires the use of two actresses to play the lead, and that can often be an issue. However, here it’s possible to imagine Atwell aging into someone like Rampling – if you look at pictures of the latter from the seventies, they are not entirely dissimilar. [It certainly works much better than the idea of Sewell becoming Michael Gambon, which is the other half of the equation] At three hours, this may be a bit over-stretched, particularly in the second half, where there seems to be a lot of going from one place to another without much purpose. Contrast this to the tenseness delivered by the first part, in particular when Eva and Lucas go to a Dutch border town, where a Gestapo officer is supposed to be defecting, only for the operation to go horribly wrong after a botched exchange of pass-phrases. But whose fault was that? I’d like to have seem more of these thriller aspects, as Hall (who has worked both on Spooks and Strike Back) seems to have a good handle on these.

The ending was a little bit of a damp squib as well: it became apparent early on who the traitor is, if only because all the other credible candidates get bumped off. From that point, you are more or less waiting for the inevitable face-off between the parties concerned, although the acting abilities of those involved certainly help. After a few years, in the acting wilderness, Rampling seems to be undergoing a bit of a late career renaissance, between roles like this, and in Dexter and Broadchurch. Maybe she’ll follow the footsteps of Helen Mirren and become an action heroine for the older generation: on the basis of this, she would probably do rather well.

Dir: Edward Hall
Star: Hayley Atwell, Rufus Sewell, Charlotte Rampling, Michelle Dockery

The Machine

  By

★★★½
“Rise of the Robots”

the machineA little way in the future, a cold war between China and the West is beginning to heat up. In an underground base, Vincent McCarthy (Stephens) is doing research into cybernetic implants that can help injured soldiers lead productive lives. He’s also working on a fully self-aware android. His boss, Thompson (Lawson) likes this because of the potential military uses; McCarthy is actually doing it as a potential way of helping his mentally-disabled daughter. He gets a new assistant, Ava (Lotz), whose radical politics are viewed with suspicion by Thompson, yet there’s no denying her knowledge, and McCarthy also uses Ava as the template for his android’s persona. When she is killed by a Chinese agent, McCarthy activates the android, called “Machine”. and Thompson sees his chance to shape into a prototype for a new generation of artificial soldiers., super-strong, lightning fast and unburdened by that pesky morality thing. He blackmails McCarthy into removing Machine’s conscience, only to find she has entered into an electronic alliance with the soldiers that received implants, who are now working as guards on the base.

The start of this rang bells. I think I made an effort to watch this before, and gave up for some reason, likely related to it taking a while to get anywhere beyond its obvious low-budget limitations, i.e. early on, it forgets the need to show, don’t tell and is frankly, too chatty. However, once Ava turns into Machine, it becomes a good deal more interesting. It remains somewhat derivative in certain aspects, though it’s hard for any low-budget SF film ever to be entirely original: Species and Blade Runner would appear the most obvious inspirations, asking what it means to be human, yet taking the form of a very non-human life-form. Chuck in some Frankenstein, a bit of 2001, and it seems to have some Eve of Destruction in there as well, through the “military experiment gone rogue” angle. However, it’s most effective when going its own way, whether in storyline or style: there’s one stunning sequence where Machine isn’t doing much beyond walking, and is literally glowing from within. Beautifully executed, it shows what imagination and ingenuity can do, even on limited resources.

The movie’s other strength is Lotz who, as the picture above shows, genuinely looks like she could kick your ass if she wanted to, a refreshing change from some of the wispier action-heroines I’ve seen recently. [I’m looking at you, The Lady Assassin…] I may have to start watching Arrow, on which she plays Black Canary: her background as a dancer serves her well, and she also projects a wide-eyed innocence which appears appropriate to her “newborn” status. But the latter might be as much for show, since it’s coupled with a steadily escalating awareness that the things Thompson wants her to do, might be morally ambiguous, at the very least. More intelligent than the average genre entry (if perhaps not as smart as it thinks), Caradog and his crew demonstrate a clear talent for making a little go a long way. I look forward to seeing what he does in future – and Lotz is likely also a name on which to keep an eye, as well.

Dir: Caradog W. James
Star: Caity Lotz, Toby Stephens, Denis Lawson, Pooneh Hajimohammadi

Warrioress

  By

★★★
“Cecily, Warrior Princess”

warrioriessThis is one I’ve been aware of since as far back as 2010, but it seemed to have been lost in post-production hell, so I was surprised to see this had finally got a release, coming out on DVD in its home territory of the UK last May. It’s one of those films where you need to know, going in, that this is not a slick Hollywood blockbuster with massive production values, and instead is clearly a work of love for those involved, doing their best with limited resources. In fact, I can’t really do better in setting those expectations than another review, which said the film was, “Best described as ‘Xena filmed on a Doctor Who-circa-1980 budget by way of a Robin of Sherwood LARPing weekend'”. I can’t really improve much on that, though would perhaps add, “Set on Steampunk Sunday at your local Renaissance Festival.”

The story is triggered by a prophecy, which sees Boudiccu (Fey) first win custody of a pair of legendary weapons, then journey through a post-apocalyptic landscape, where humanity has largely reverted to tribal savagery. However, the crypto-fascist Falonex clan still appear to have a handle on some old-school technology and appear to be massing to establish their dominance. On the way to the prophesied location, where she will face another warrioress in a battle which will hopefully lead to a champion rising who can defeat the Falonex, Boudiccu is joined by White Arrow (Simpson), who is seeking revenge on those who killed her family. Or something. They have to fend off attacks, share flashback sequences and, eventually, have a twist revealed in their relationship that should come as absolutely no surprise to anyone paying attention.

What works? Simple: the action, led by Fay. She’s a tiny thing – 4’9″! – yet it’s entirely convincing, because the style of her fights don’t show her using strength and power to beat her opponents (which would be implausible), they instead emphasize skill, quickness and agility, which she has in spades. Credit, too, for Boyask, who consciously avoids the rapid-fire style of editing, knowing that the best thing he can do with a talent like Fay, is point the camera in her direction, then let her get on with it. [Sometimes, knowing not to do anything is more important than trying to do it] There’s a battle, not long after Boudiccu leaves her village, in which she takes on half-a-dozen other women, which is just glorious: it’s probably the best action heroine sequence ever to come out of the UK. But therein lies a problem, in that nothing during the hour thereafter is as great: good, sure, sometimes very good, but the final battle in particular feels like a letdown.

What doesn’t work? Sadly, way too much of the stuff between the fights, which feels like a slapdash grabbing of elements lifted from elsewhere, lobbed into a storyline which might just about have passed muster on a wet Sunday at my college D&D society. The efforts at generating any kind of broad, post-apocalyptic landscape are feeble, particularly the Falonex, who are represented by a ropey CGI backdrop and the interior of a single tent, which does not succeed in making them the kind of global threat they are supposed to be, especially since their scenes are play largely for laughs. But what’s really missing from the dialogue and performances, is any sense of intensity. They’re purely functional, intended to get the story from A to B (where A and B are almost certainly fight scenes). It’s clear from the action scenes, everyone involved had a passion for what they were doing there. Unfortunately, that passion is absent from everywhere else, and weakens the overall product to an extent that many will be unable to look past the flaws, and appreciate the positive attributes to be found here.

Dir: Ross Boyask
Star: Cecily Fay, Joelle Simpson, Christian Howard, Merrilees Fay Harris