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thedullwoodexperiment

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Tag Archives: Assassination

HHhH (2017)

12 Monday Feb 2018

Posted by dullwood68 in Movies

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Tags

Assassination, Cédric Jimenez, Drama, History, Jack O'Connell, Jack Reynor, Jason Clarke, Literary adaptation, Mia Wasikowska, Reinhard Heydrich, Review, Rosamund Pike, Thriller, World War II

aka Killing Heydrich; The Man With the Iron Heart

D: Cédric Jimenez / 120m

Cast: Jason Clarke, Rosamund Pike, Jack O’Connell, Jack Reynor, Mia Wasikowska, Stephen Graham, Thomas M. Wright, Noah Jupe, Geoff Bell, Enzo Cilenti, Volker Bruch, David Rintoul, David Horovitch, Abigail Lawrie, Adam Nagaitis

Let’s get this out of the way right from the start: HHhH is an odd movie. In fact, it’s very odd. Not because of the title, which is an acronym for Himmlers Hirn heißt Heydrich (Himmler’s brain is called Heydrich, a quip you wouldn’t dare repeat back then), and not because you have to wade through a long list of actors before you find someone whose first language is actually German or Czechoslovakian. No, what makes the movie so odd is that, for a drama based around the assassination of Reinhard Heydrich (Clarke), keen violinist and one of the main architects of the Final Solution, it lacks ambition and drive, and often moves from scene to scene as if seeking the right direction in which to move forward. It also lacks focus, telling us much about Heydrich’s early life in its first twenty minutes (including his love of fencing, and his dishonourable discharge from the German Navy), but then failing to link it all to anything that happens once he’s fully committed to being a Nazi.

Like a lot of members of the Nazi Party, Heydrich went from being something of a nobody to somebody wielding quite a lot of power in a very short space of time, and the movie recognises this. However, thanks to the vagaries of the script, and Clarke’s gloomy demeanour throughout, Heydrich remains a sadistic bully boy in adult’s clothing – and just that. No one is looking for the movie to redeem Heydrich in some way (though that would make it more interesting), but for all its attempts at trying to shine a spotlight on his pre-Nazi activities, they’re all left abandoned as the movie progresses. Instead we see Heydrich’s rise to prominence through the patronage of, first, his wife, Lina von Osten (Pike playing Lady Macbeth as if her career depends upon it), and then, second, Heinrich Himmler (Graham playing Hitler’s right hand man as the uncle you do visit). He does some expectedly nasty things, behaves unconscionably whenever possible, and then his story, with over an hour of the movie to go, takes a back seat to Operation Anthropoid.

By changing its focus nearly halfway through, Jimenez’s movie only narrowly avoids feeling schizophrenic. As we’re introduced to Jan Kubiš (O’Connell) and Jozef Gabčík (Reynor), the two men chosen to head up the assassination attempt, we also get to meet a whole roster of new characters that we don’t have time to get to know or care about. And once Heydrich is out of the way, the terrible reprisals carried out by the Nazis are represented by the razing of Lidice (which actually happened), but in such a brusque way that it makes it obvious that HHhH wants to move on quickly to address the fate of Kubiš and Gabčík and their compatriots – which goes on for far too long and features the kind of gung-ho heroics that only a movie would feel was appropriate. Add the fact that the script – by Jiminez, Audrey Diwan and David Farr from Laurent Binet’s novel – is represented by some of the blandest, most depressing cinematography seen in recent years, and you have a movie that is tonally awkward, flatly directed, and which flirts in earnest with having nothing meaningful to say.

Rating: 5/10 – clunky and dour, and only sporadically engaging, HHhH tells its story as if it was being forced to – and the whole process is painful; a missed opportunity would be putting it mildly, but the movie’s very oddness allows for a certain fascination to develop as the movie unfolds, making it watchable if you don’t expect too much from it.

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True Memoirs of an International Assassin (2016)

08 Saturday Apr 2017

Posted by dullwood68 in Movies

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Tags

Action, Andy Garcia, Assassination, Comedy, Drama, Jeff Wadlow, Kevin James, Kim Coates, Review, Revolution, The Ghost, Venezuela, Zulay Henao

D: Jeff Wadlow / 98m

Cast: Kevin James, Andy Garcia, Kim Coates, Zulay Henao, Maurice Compte, Andrew Howard, Yul Vazquez, Leonard Earl Howze, Rob Riggle, P.J. Byrne, Kelen Coleman, Katie Couric

Sometimes you just want to sit down and watch a movie and not have to think about it. Sometimes all you need is a movie that you don’t expect much from, or a movie that you’re pretty sure isn’t going to live up to any expectations you may or may not have, and just be that movie, the one that you can watch without waiting for this moment or that moment to happen. A movie that, when it’s over, you can say, “Okay, that did the trick, I needed that.” A movie that can be as awful as it likes, and it doesn’t make any difference. All it needs to do is keep you occupied – mostly – for an hour and a half (or maybe more) and maybe help you tick the box marked “Seen it”.

A perfect candidate for this kind of movie is True Memoirs of an International Assassin, the latest “comedy” from Netflix. After The Ridiculous 6 (2015) and Special Correspondents (2016), you might think that Netflix would have wanted to reconsider their comedy projects, but True Memoirs… shoots down that idea within the first fifteen minutes, the period in which the movie is at its funniest. Would-be writer Sam Larson (James) is putting the finishing touches to his latest book. We see his lead character, Mason Carver  (also James), fight off a horde of bad guys until he’s faced by one carrying an RPG. Deciding that an RPG is a little over the top, Sam has trouble coming up with an alternative. While he thinks about it, we see Mason and the (ex-)RPG carrier waiting around for the solution so that they can continue. They look like two actors on a set waiting for the next set up, or new script pages. It’s funny, and anyone watching the movie should remember this sequence well, because once it’s over, that’s as funny as the movie gets.

They say that comedy is harder than straight drama, and watching True Memoirs… is like trying to watch a comedy that has taken that particular maxim to heart and is doing everything it can to prove the saying right. Rejected by seemingly every publisher under the sun, Sam’s ambitions are kept alive by the unexpected appearance of an online publishing rep called Kylie (Coleman). She takes his manuscript, makes one very important change to the title, and the next thing he knows, Sam has a runaway bestseller on his hands. That change? It’s in the movie’s title: Sam’s book was originally called Memoirs of an International Assassin. Though his book is a work of fiction, Sam does his research, and he’s helped by his friend and ex-Mossad analyst, Amos (Rifkin) (can everyone say “lazy plotting”?). A story about a real assassin who was around in the Eighties and was called the Ghost, has found its way into Sam’s book, and now it’s non-fiction status and level of detail has people thinking Sam is actually the Ghost.

Now, if you’re watching this on Netflix – and chances are more people will see it there than will buy it on DVD or Blu-ray – then this is the point at which you should pause the movie and think very hard about that last sentence. People think Sam is really the Ghost. Later on this month (the 26th to be exact), Kevin James will be forty-two years old (and looks it). In order for Sam to be the Ghost he would have had to have been a pre-teen when he began his life as an international assassin. But nobody – seriously, nobody – brings this up. Not Andy Garcia’s Venezuelan freedom fighter, not his second-in-command, Juan (Compte), not even bumbling CIA field agents Cleveland (Howze) and Cobb (Riggle). Can everyone say “stupid plotting”?

Sam is kidnapped by Garcia’s El Toro and threatened with a horrible death unless he agrees to kill the Venezuelan President, Miguel Cueto (Coates). Through a further series of encounters too tedious to recount here, Sam is also tasked with killing a Russian criminal called Anton Masovich (Howard). Aided by DEA agent, Rosa Bolivar (Henao), Sam manages to avoid getting killed long enough to put a plan of sorts into action, one that involves bugging the President, and supporting El Toro’s revolution. By this stage, the screenplay – by director Wadlow and Jeff Morris – is intent on piling on huge levels of exposition onto huge levels of exposition as it does its best to make what should be a simple enough premise into something much more unwieldy and irksome. It’s a scenario that abandons simplicity almost from the beginning, and never looks back (it may actually be frightened to).

Fans of brain-dead comedies will no doubt enjoy True Memoirs… but for everyone else, the endless machinations that keep Sam ahead of everyone else will soon become tiresome, and the decreasing attempts at making the viewer laugh will become horribly apparent. By the movie’s end, discerning viewers will be wondering if they’ve really just wasted ninety-eight minutes of their life on this farrago, while even those viewers who were looking for the kind of distraction mentioned in the first paragraph will be shaking their heads in despair. When you end up hoping for something to come along to distract you from the distraction you’re already experiencing, then it’s time to choose your distractions more carefully.

Forced to carry the weight of the movie on his shoulders, James struggles to remain cheerful throughout, and soon gives in to the script’s requirement that he repeat over and over that he’s not the Ghost, while behaving like a petulant coward (and looking for a way out of his contract). James has a proscribed gift for physical comedy, but here he’s not given the chance to highlight that gift. Instead he’s pressed more into action hero mode, acquitting himself well in a series of fight scenes that are well choreographed and surprisingly invigorating. At all other times he plays the same physically awkward, bumbling, slightly desperate character he pretty much always plays. It makes you think that if True Memoirs… was written with James in mind, then he needs to avoid these kind of scripts in the future.

Orchestrating it all is Wadlow, a writer/director who for some reason was allowed to give us Kick-Ass 2 (2013). The same stumbling approach to the material that marred that movie is repeated here, with unexplained tonal shifts thrown in for good measure, and the cast encouraged to play their roles as clichéd stereotypes, or even stereotypical clichés. Garcia is wasted in his role (and that’s not a drug reference), Compte and Vazquez are allowed to pop up every now and then and add little to the overall narrative, Henao is tasked with being earnest while the camera focuses elsewhere, and Coates is in a different movie altogether as the Venezuelan President whose real name is Mike, and who doesn’t want the job anymore. Such is the variety and the standard of the performances, it’s obvious that Wadlow gave everyone carte blanche to do what they wanted. It would have been best if they’d all said no to the script (and a working holiday in the Dominican Republic), and just stayed at home. And if they needed to, watched something distracting.

Rating: 3/10 – while comedy is definitely harder to pull off than drama, there’s no argument when the comedy doesn’t even try that hard to beat the odds; a prime example of less is less, True Memoirs of an International Assassin is an embarrassing hodge-podge of stock situations and characters that reinforces the idea that when it comes to movies, Netflix are really good at making television shows.

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Grimsby (2016)

28 Saturday May 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Action, Airborne virus, Assassination, Brothers, Chile, Comedy, Drama, Ian McShane, Isla Fisher, Louis Leterrier, Mark Strong, Penélope Cruz, Rebel Wilson, Review, Sacha Baron Cohen, Spy, World Cup Finals

Grimsby

aka The Brothers Grimsby

D: Louis Leterrier / 83m

Cast: Sacha Baron Cohen, Mark Strong, Penélope Cruz, Isla Fisher, Ian McShane, Rebel Wilson, Barkhad Abdi, Gabourey Sidibe, Scott Adkins, Annabelle Wallis, Johnny Vegas, Ricky Tomlinson

Grimsby - scene1

Just avoid. This is a movie whose “comic” highlight is its lead characters hiding in an elephant’s vagina while it’s being penetrated by another elephant – and then the other elephant ejaculates. Fans of Baron Cohen will probably enjoy this but anyone else will be wondering how on earth this was ever made, and if they manage to get through to the end, they’ll also be wondering how they can get eighty-three minutes of their lives back.

Rating: 3/10 – yet another example of gross-out humour being more important than properly constructed comedy, Baron Cohen’s latest offering is so bad you hope he’s never allowed to make another movie of his own ever again; wasting the talents of a good cast (spare a thought for Penélope Cruz, appearing in this and Zoolander 2 in the same year), and giving new meaning to the word ‘puerile’, Grimsby is competently made but embarrassing at almost every turn.

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Hamilton: In the Interest of the Nation (2012)

26 Sunday Apr 2015

Posted by dullwood68 in Movies

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Tags

Action, Arms, Assassination, Drama, Guided missiles, Horn of Africa, Jan Guillou, Jason Flemyng, Kathrine Windfeld, Literary adaptation, Mikael Persbrandt, Pernilla August, Review, Saba Mubarak, Sectragon, Sweden, Thriller

Hamilton

Original title: Hamilton: I nationens intresse

D: Kathrine Windfeld / 109m

Cast: Mikael Persbrandt, Saba Mubarak, Pernilla August, Jason Flemyng, Lennart Hjulström, Aleksandr Nosik, Ray Fearon, Peter Andersson, Gustaf Hammarsten, Dan Ekborg, David Dencik, Leo Gregory, Fanny Risberg, Liv Mjönes, Kevin McNally

Posing as a member of a Russian mafia gang, Swedish intelligence officer Carl Hamilton (Persbrandt) is present at an arms deal between the Russian gang and a group of terrorists; the arms in question are Swedish guided missiles. Before the deal can be completed, both sides are ambushed by another group, who make off with the missiles. Making it to safety, Hamilton returns to Stockholm. There he resumes his relationship with a doctor, Maria (Risberg). He wants to settle down with her but an accident happens which prevents them from doing so.

In the meantime, in Ethiopia, a contractor, Martin Lagerbäck (Hammarsten) working for the Swedish company North Fors is kidnapped by fellow employee Benjamin Lee (Fearon). Lee’s reason for doing so is because Lagerbäck is the key to a conspiracy involving North Fors, their security company Sectragon, and the planned assassination of several African politicians using the guided missiles. When the Swedish government learns of Lagerbäck’s abduction, the Prime Minister (August) tasks Sectragon with his and Lee’s retrieval, and elects Hamilton to go along as an observer.

Though both men are rescued, Hamilton becomes suspicious of the intentions of Sectragon’s security chief, Hart (Flemyng). He decides to hijack an incoming helicopter and takes both men with him. Returning to Sweden via Amman in Jordan, and with the help of local PLO operative, Mouna (Mubarak), Hamilton thwarts Hart’s plans to recapture Lee and Lagerbäck. Back in Sweden it soon transpires that North Fors has a mole inside the government and that they are planning to assassinate a visiting Ethiopian politician, along with the Prime Minister. Lee is abducted by Hart, giving Hamilton very little time in which to track them both down and stop North Fors from carrying out their plan to foment war in the Horn of Africa.

Hamilton - scene

Not particularly well known for producing spy thrillers, Sweden is nevertheless very good at producing flawed heroes who are weighed down by angst and debilitating introspection. The same is true here of Carl Hamilton, the creation of author Jan Guillou and the subject of eleven novels so far (this is adapted from the third in the series). With his melancholy features and acerbic outlook, Hamilton is as far removed from James Bond – an obvious comparison to make – as Bond is from, say, Derek Flint. Persbrandt is a good choice, his imposing physique and steely gaze making him ideal for the role, and he’s as adept at the close quarter fighting as he is when either romancing Risberg or being quietly compassionate with Mubarak.

With the character arriving fully formed from the outset – a refreshing change from the usual approach taken at the beginning of a potential franchise (an oddly titled sequel, Agent Hamilton: But Not If It Concerns Your Daughter was also released in 2012) – the movie throws the viewer into the thick of things and only occasionally pauses to give them time to work out what’s going on. Alas, when the viewer is granted pause for reflection, they may well wonder what is going on a little too often for comfort. There are several moments when belief isn’t so much suspended as overlooked. Lee’s abduction of Lagerbäck refuses to make sense however you look at it, and why Hamilton has to keep making trips to the Middle East is never explained either. It’s either a case of lazy plotting, or perhaps worse, a script that’s been bowdlerised during production. Either way, this is a movie where a lot happens… because.

That’s not to say that it isn’t entertaining, because for the most part, it is. The globe-trotting aspects keep the movie looking fresh, and the location work, particularly in Jordan, is often spectacular. Orchestrating it all, Windfeld (who sadly passed away in February of this year) injects an energy into the action scenes that gives the movie a boost whenever they happen, and she shows a confidence that helps paper over the cracks created by the script. She’s good too with her cast, eliciting strong performances from Mubarak and August (you can believe in her world-weary prime minister implicitly), and even reining in most of Flemyng’s idiosyncrasies as an actor. The mix of English and Swedish actors proves fruitful, though McNally’s scenes as the head of Sectragon look to have been filmed in a day, and not by Windfeld; they stand out like a sore thumb: poorly shot and with McNally doing a tired impression of a corporate sleaze bag.

There’s little subtlety involved in the political machinations as well, with Dencik’s slimy government mole proving not too dissimilar to his role in Serena (2014). The subplot involving Hamilton’s girlfriend Maria is played out in the background, and proves more interesting in the end than the main plot itself, as a journalist (Mjönes) gets involved and Hamilton’s career is put in greater jeopardy than it is from Hart. The resolution to this subplot, however, is given short shrift in terms of dramatics, and its effect on Hamilton goes largely by the by, aside from a predictably angst-ridden conversation between Hamilton and his boss, DG (Hjulström). It’s another reminder that Hamilton, while very good at his job, just wants to get out and lead a “normal” life with Maria. But as with all spies who are too good at their job, it’s never going to happen, and Hamilton soon heads back to cracking skulls and saving the world.

Rating: 7/10 – doing just enough to win over its audience, and providing a pleasant enough diversion, Hamilton: In the Interest of the Nation is an often over-cautious attempt at making a spy thriller; with a good central performance from Persbrandt and decisive direction from Windfeld, though, it’s an interesting take on a genre that’s been reinventing itself in recent years, and well worth a look.

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A Few Thoughts About The Interview

19 Friday Dec 2014

Posted by dullwood68 in Movies

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Tags

AMC, Assassination, Cancelled release, Cineplex, Guardians of Peace, James Franco, Kim Jong-un, Seth Rogen, Sony, The Interview

It was a sad day for the movie world when on 17 December 2014, Sony announced that they were cancelling plans to release The Interview in any format.

Interview, The

On the face of it, it seems Sony has decided to give in to the bullying, threatening tactics used by the so-called ‘Guardians of Peace’, and their efforts to stop the movie’s release. While it certainly must have come as a bit of a shock to the execs at Sony to see internal e-mails, employment records, and financial information relating to the movie – such as the salaries of stars James Franco and Seth Rogen – being made public, this kind of cyber attack is hardly unheard of these days. Even when further information was leaked a couple of weeks later, was anyone really that worried by the hackers audacity?

The answer is obviously, yes. After the second release of information was made on 8 December, The Interview had its L.A. premiere on 11 December (and received mixed reviews). On 16 December, the hackers issued an ultimatum to movie theatres in the US and anyone planning to see the movie: “keep yourself distant from the places [cinemas] at that time. (If your house is nearby, you’d better leave.)” The reaction: Sony removed all mention of The Interview from its web site, Franco and Rogen both stopped doing publicity for the movie, and its planned theatrical release on 25 December was cancelled.

In effect, the so-called ‘Guardians of Peace’ made some vague threats and Sony threw in the towel before they’d even gotten in the ring.

Interview, The - scene

There are wider implications involved here that Sony hasn’t – apparently – considered, such as the precedent they’ve now made for every other production company, investor, studio, or organisation involved in the making and promoting and showing of movies, whether in the US or abroad. Which movie will be next? Putting aside the subject matter of The Interview itself – the planned assassination of North Korea’s Kim Jong-un – what’s to stop another hateful organisation like the so-called ‘Guardians of Peace’ from popping up and voicing their dislike of any other movie? And threatening violence if it’s shown?

With theatre chains in America such as AMC and Cineplex deciding to either drop the movie altogether or delay it until all the fuss has died down, Sony took the opportunity to withdraw the movie – and not release it at all (not even on VOD which would have allowed them to recoup some of the movie’s costs). Instead of standing up to what amounts to the worst kind of schoolyard bullying, the company used the cinema chains’ reluctance to see their premises and/or staff put at risk as an excuse to bow to the pressure placed on them. And they had the nerve to say in their statement: “We stand by our filmmakers and their right to free expression…” Is anyone really impressed, or convinced, by this assertion?

The role of Franco and Rogen in all this is disappointing as well. Their silence on the matter (and apparent willingness to stop promoting the movie) infers a lack of commitment to their movie that’s as worrying as the attacks on Sony’s computer systems. That too such vocal and usually forthright performers haven’t the cojones to stick up for their own movie, or voice any anger at the actions of the so-called ‘Guardians of Peace’, is baffling and regrettable. Don’t they have anything to say about what’s happened?

Whether they do or not though, the fact remains that Sony has done an incredible disservice to moviegoers everywhere – The Interview won’t even be released outside of the US. There’s a bigger, more important principle at stake here (and whether the movie is good or bad), and that’s free speech. For Sony to cave in under pressure so quickly and cravenly is disgraceful, and especially in light of the US Department of Homeland Security stating there is “no credible intelligence” of an active violent plot against cinemas. This makes their decision one of the most ill-considered, and – let’s say it – cowardly responses to a threat anyone’s heard in a long time.

Agree? Disagree? Feel free to let me know.

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