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Tag Archives: Jack Reynor

HHhH (2017)

12 Monday Feb 2018

Posted by dullwood68 in Movies

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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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Free Fire (2016)

04 Tuesday Apr 2017

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Action, Armie Hammer, Ben Wheatley, Brie Larson, Cillian Murphy, Drama, Guns, Jack Reynor, Review, Sharlto Copley, Shootout, Thriller, Warehouse

D: Ben Wheatley / 90m

Cast: Sharlto Copley, Armie Hammer, Brie Larson, Cillian Murphy, Jack Reynor, Michael Smiley, Sam Riley, Enzo Cilenti, Babou Ceesay, Noah Taylor, Patrick Bergin

It’s 1978 (not that it really matters), and at an abandoned warehouse in Boston, two groups come together to conclude an arms deal. Chris (Murphy) and Frank (Smiley), are members of the IRA, and they’re accompanied by two local career criminals, Bernie (Cilenti) and Stevo (Riley). They’re attempting to buy M-16’s from arms dealer Vernon (Copley) and his associate, Martin (Ceesay); they in turn have back-up in the form of Harry (Reynor) and Gordon (Taylor). Also present are facilitators Justine (Larson), who has brought the two groups together, and Ord (Hammer) who is there to ensure the deal goes through without any problems.

But as night follows day and action comedies demand conflict followed by murderous gunplay, the deal almost falls through when Vernon reveals a case containing AR-70’s and not the M-16’s Chris ordered. Ord helps pacify things and the deal goes ahead, with Chris accepting the guns and Vernon happy with his payment. But the inevitable fly in the ointment occurs when Stevo recognises Harry as the person who beat him up earlier over Stevo’s treatment of Harry’s seventeen year old cousin. Harry sees him and is incensed, and the deal is in jeopardy again. Chris tells Stevo to apologise, but though he does, he can’t resist bragging about what he did to Harry’s cousin. Harry responds by shooting Stevo in the shoulder, and the next moment everybody is shooting at each other, and fanning out across the warehouse.

What follows sees everybody shot and wounded in some way, but in particular it’s Martin who becomes everyone’s focus as he suffers a head wound that leaves him unconscious and lying next to the briefcase with the money inside it. Efforts are made to retrieve it on both sides, but it proves more difficult than anyone could have expected, and further injuries/wounds occur, leaving pretty much everyone struggling to stay alive – and when two further men turn up and shoot at them all, the whole situation goes from bad to worse to ridiculous.

The Closing Night Gala at last year’s London Film Festival, Free Fire is a movie that further cements writer/director Ben Wheatley’s reputation, but does so in a way that will have some viewers wondering what all the fuss is about. This doesn’t mean that Wheatley isn’t a talent to watch, or that his movies aren’t worth watching either, but Free Fire arrives in cinemas with a wealth of expectation behind it following its successfully received screenings at various festivals. Whether or not that level of expectation is warranted will depend on your acceptance of Wheatley being a movie maker with a distinctive visual style, and something to say. Because even though Free Fire is certainly distinctive, and directed with no small amount of flair by Wheatley, it’s not his most accomplished movie to date, and after the misfire that was High-Rise (2015), prompts the question, When will he make another movie that really confirms the talent we all know he has?

This isn’t to say that Free Fire is necessarily a bad movie, but it does appear to have been made with the intention of being entertaining, and it’s here that the movie gives cause for concern. For a director of Wheatley’s talent and rising stature, Free Fire feels too forced too often to be effective, or win over its audience. Some viewers, if they take the movie at face value, will find it enjoyable, but in a kind of loud, dumb fun kind of way. Wheatley, and his co-writer (and wife) Amy Jump, have gone for a crowd-pleasing black comedy action thriller that focuses heavily on the “fun” to be had from seeing a group of villainous individuals shoot each other, and which then sits back and watches them suffer even further.

This is where the notion that the movie is “fun” loses traction the longer the movie goes on. By letting all of its motley assortment of characters drag themselves around to less and less dramatic effect – Stevo’s demise is a particular example, a moment that makes no sense given his capacity thus far for survival – the problem of what to do with them all becomes increasingly more difficult for Wheatley to solve. In the end, he signposts the movie’s final scene, attempts to wrap it all up neatly, and confirms that any originality has been spent long before. For all its likeability, the movie hopes to beguile its audience into thinking that it’s fresh, sharp and funny, and though it does raise a smile quite often, this is more to do with the performances than Wheatley and Jump’s script.

Once the action and the shooting begins, some viewers will be left wondering who’s shooting and wounding who, and why co-writers Wheatley and Jump couldn’t have hired someone other than themselves to edit the movie. In the initial melee, it’s hard to work out just exactly what’s going on, and while it may serve to highlight the chaotic nature of the action, the spacing and the staging of the various protagonists isn’t made clear enough for viewers to accurately gauge where everyone is and how anyone can shoot anyone else. As a result, characters are hit – some more than once – and often it seems as if it’s the random choice of the screenplay. The effect this has is to distance the viewer from what’s happening – and to whom – and to reduce the characters to little more than that of ducks in a shooting gallery.

Thankfully, the cast know what they’re doing, from Copley’s quick to take offence arms dealer, to Hammer’s smooth-talking facilitator, to Riley’s drug-addled liability. As the lone female in the cast, Larson quickly becomes “one of the lads” as Justine has no option but to fight for her own survival just like everyone else. Strangely though, it’s Murphy’s IRA man who is the movie’s nominal hero, but the movie doesn’t do anything with this, and like its period setting, lacks any relevance to the action. But then relevance doesn’t appear to be in Wheatley’s remit. Instead, he wants to bludgeon us with a movie whose ambition is to be a wildly anarchic, blackly amusing thrill ride that will have audiences wincing and laughing in equal measure. He succeeds with the wincing, and occasionally with the laughing, but overall, this is dispiriting stuff from a director who can do so much more. Perhaps this is a movie Wheatley had to do in order to “get it out of his system”, and if so, then hopefully his next project will showcase his real talents as a movie maker.

Rating: 6/10 – on a basic level, Free Fire is a movie that will attract a lot of fans, and for some, reinforce their opinion of Wheatley’s skill as a director; however, even as a slice of depth-free entertainment, it fails to hit the mark fully, and stumbles too often in its execution to offer more than an occasionally diverting experience, leavened only by the occasional humorous twist, and an equally occasional sense of its own absurdity.

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Sing Street (2016)

24 Tuesday May 2016

Posted by dullwood68 in Movies

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Tags

Aiden Gillen, Band, Catholic Boys School, Comedy, Drama, Drive It Like You Stole It, Dublin, Ferdia Walsh-Peelo, Jack Reynor, John Carney, Lucy Boynton, Review, Romance, School disco, Semi-autobiographical, Songs, Synge Street, The Riddle of the Model

Sing Street

D: John Carney / 106m

Cast: Ferdia Walsh-Peelo, Lucy Boynton, Jack Reynor, Aiden Gillen, Maria Doyle Kennedy, Kelly Thornton, Mark McKenna, Ben Carolan, Percy Chamburuka, Conor Hamilton, Karl Rice, Ian Kenny, Don Wycherley

A semi-autobiographical account of writer/director John Carney’s upbringing in Dublin in the mid-Eighties, Sing Street may well be the most enjoyable romantic drama (with extra added music and comedy) of 2016. The creator of Once (2007) and Begin Again (2013) has fashioned a delightful, appealing movie that offers very few surprises, but does so with a great deal of affection and charm. It’s a movie that leaves you with a smile on your face and wondering what happens to all the characters once the movie’s ended (at this point, a sequel featuring the same characters wouldn’t go amiss).

Carney’s on-screen incarnation is Conor Lalor (Walsh-Peelo). Conor is fifteen and part of a family that is on the verge of falling apart. His mother (Kennedy) and father (Gillen) are constantly arguing, his older brother, Brendan (Reynor), is unemployed and hasn’t left the house in ages, while his sister, Ann (Thornton), is wrapped up in her schoolwork and upcoming exams. For Conor, life has been so far uneventful, but a change in the family fortunes means his transferring from a Jesuit school to a nearby Catholic school run by the Christian Brothers.

Sing Street - scene2

Conor has a middling interest in music and gets most of his knowledge from Brendan. While trying to fit in at his news school, Synge Street CBS, Conor falls foul of the resident bully, Barry (Kenny), but is befriended by Darren (Carolan) who offers his services should Conor ever need them. Conor finds a use for Darren almost straight away; as they loiter at the school gates, Conor spots a girl across the street who, according to Darren, is unapproachable. Conor crosses the street and asks the girl – whose name is Raphina (Boynton) – if she wants to be in a video his band is making. Raphina is skeptical but agrees to take part in the shoot. All Conor has to do is put together a band (with Darren as their manager), and his efforts to woo Raphina can be put into operation.

Conor’s plan gets off to a good start when Darren introduces him to Eamon (McKenna) who’s a multi-instrumentalist. From there they recruit a keyboard player, Ngig (Chamburuka), a bass player, Garry (Rice), and a drummer, Larry (Hamilton). They call themselves Sing Street after their school and record a demo version of Duran Duran’s Rio. They shoot their video, and Raphina takes part. Conor is happy with the way things are going but Brendan is less than supportive. Challenging Conor to write his own songs for the band, and to adopt their own visual image, Brendan makes it clear that being a covers band will get them nowhere. Suitably encouraged, Conor trusts in his own abilities and the songs he creates with Eamon go a long way to improving both the band’s repertoire and their performances.

Conor and Raphina grow closer but the shadow of her planned move to London hovers over their relationship like a black cloud. And while the band become more proficient, and score their first public performance at the upcoming school disco, Conor believes he’s made enough of an impression on Raphina that she won’t leave, but when she doesn’t turn up for a video shoot, Conor learns that the life of a budding pop star isn’t as easy or as fulfilling as he’d hoped.

Sing Street - scene3

A breath of fresh air amidst a period when so many other movies are proving to be disappointments for a myriad of reasons, Sing Street is a welcome reminder that you don’t have to have a mega-budget or a host of household names (or be a sequel) to connect with an audience and become a success (if only a modest one). From its opening scene where Conor learns he’s moving schools, and which features the first of several very funny lines from Brendan, Carney’s look back at the highs and lows experienced by a lovestruck teen is simply yet expressively told, and features a clutch of winning performances from its mostly inexperienced cast.

It’s a richly satisfying movie, exploring the trials of young love, the naïve expectations of forming a band, and grounding it all in the relationships, particularly that between Conor and Brendan. Carney has created the older brother we’d all like to have, the wise-beyond-his-years confidant and source of encouragement we can all look up to, and Reynor comes close to stealing the movie out from under his younger co-stars. But Carney’s insistence on choosing a largely non-professional cast has paid off handsomely. Walsh-Peelo is excellent as Conor, his shy, diffident nature giving way to the kind of self-confidence so few of us attain at that age. As he woos Raphina through the lyrics of his songs, the depth and tenderness of Conor’s feelings are expressed in such a poignant, heartfelt way that the viewer can’t help but root for him. (It’s also great to see the young actor adopt the various hairstyles of the pop stars he seeks to emulate; no doubt viewers of a certain age will wince in recognition of their own tonsorial decisions.)

Sing Street - scene1

While the temptation is to label Sing Street as a musical, and while there are enough musical interludes to maintain that temptation throughout the movie’s running time, this is really about a romance borne out of happenstance and unexpected need. As such it succeeds admirably in portraying that first early flush of attraction and the disjointed emotions that often come with it. Conor’s motives are clear and unerring: he wants the girl. But in the grand tradition of all romantic endeavours, the course of true love is not allowed to run smoothly, and Raphina’s own dreams intrude on and interfere with Conor’s. It’s all handled with a seductive precision and an eye for the undisclosed feeling that makes Conor and Raphina’s relationship all the more credible, even if it is predictable in its outcome.

With the central relationships all being handled with a deftness of touch that shows just how far Carney has come as a director since November Afternoon (1996), the movie is free to concentrate on the music. Like all the best musicals, Carney, in collaboration with Gary Clark, has composed a handful of songs that both advance the story and reveal Conor’s developing feelings for Raphina. It’s helpful too that they’re all very well-written, and two songs in particular, The Riddle of the Model and Drive It Like You Stole It, have the potential to find a life for themselves outside the confines of the movie. Make no mistake – and one very poignant ballad aside – these are lively, enjoyable, sing-along tunes that have an infectious glee about them, as if both Carney and his talented cast had decided from the start that melancholy tales of woe and unrequited love weren’t needed at all. And you know, they were right.

Rating: 8/10 – some elements are too familiar from too many other movies to go unnoticed, but Carney imbues these elements with a wistfulness and an enticement that makes Sing Street very hard to resist; with toe-tapping musical numbers and several appealing performances courtesy of its young cast, it’s a movie that deserves a wider audience than it will probably get, and any movie that features a great joke at the expense of Phil Collins can’t be all bad.

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A Royal Night Out (2015)

15 Sunday Nov 2015

Posted by dullwood68 in Movies

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Tags

Airman, Bel Powley, British royalty, Comedy, Drama, Emily Watson, Jack Reynor, Julian Jarrold, King George VI, Military escort, Princess Elizabeth, Princess Margaret, Review, Rupert Everett, Sarah Gadon, True story, VE Day, World War II

A Royal Night Out

D: Julian Jarrold / 97m

Cast: Sarah Gadon, Bel Powley, Jack Reynor, Rupert Everett, Emily Watson, Jack Laskey, Jack Gordon, Roger Allam, Ruth Sheen

A Royal Night Out is based on real events: on V.E. Day, May 8 1945, Princess Elizabeth and Princess Margaret went out in a group that included their nanny, several friends, and a military detail as protection (one of whom was Group Captain Peter Townsend, who would later have a relationship with Margaret). They were charged by their father, King George VI, to be home by one a.m. – which they were. Nothing of any real significance happened, and the evening passed off without incident.

But in an attempt to overcome this disappointing outcome, A Royal Night Out chooses to paint an entirely different portrait of what happened that night, and in doing so, pushes the boundaries of credibility at every turn. It’s a movie that embraces the newspaper cry of “Print the Legend!”, and has no intention of worrying about just how far-fetched or unlikely it all is. And thanks to one of the most careless and poorly constructed screenplays of recent years – courtesy of Trevor De Silva and Kevin Hood – the movie limps from one unconvincing scene to another, and never once provides a moment’s plausibility.

From the moment that Gadon’s Elizabeth and Powley’s Margaret are introduced – responsible and carefree respectively – it’s clear that these characterisations aren’t going to change much as the movie progresses. Elizabeth is the thoughtful, considerate sister, always looking out for her younger, less mature sibling. Margaret is a pleasure-seeker, stifled by the conventions of royal life, and looking for a chance to express her more extrovert nature. Although there is some truth in both these approaches – Margaret definitely liked a good party – by reducing both young women to such paper-thin representations of their real counterparts, the movie avoids asking its audience to identify with them at all.

A Royal Night Out - scene1

What the movie does to compensate is to infuse the action with liberal dollops of comedy. Surprisingly, a lot of it works, even though it’s often corny, and relies on the idea that Elizabeth and Margaret are so far removed from “ordinary” folk that they’re unable to deal with the simplest of social interactions. The humour is also derived in part from a lazy interpretation of the social divide between the princesses and the people they meet. Margaret is far too trusting, while Elizabeth becomes acutely aware of how little she really knows about everyday people. It’s predictable stuff, and if it wasn’t for the jokes, the movie would be dangerously difficult to sit through.

As well as De Silva and Hood’s just-enough-done-to-get-by script, there’s Jarrold’s lacklustre direction to contend with. There are moments when it really seems as if he settled for the first take and had no interest in finding out if the actors had anything else to offer. Whole stretches of the movie play out at a sedated pace that deadens each scene it touches, and it makes the performances seem stilted and free from nuance. Jarrold, whose last theatrical feature was the similarly underwhelming Brideshead Revisited (2008), misses almost every opportunity to make the movie relevant to its time frame, and concentrates instead on various levels of slapstick and farce to push the narrative forward. It leaves the movie feeling disjointed and as unconcerned about itself as Margaret is when she goes off with a man she doesn’t know.

97-Girls Night Out-Photo Nick Wall.NEF

There are issues with the various relationships as well. Elizabeth meets AWOL airman Jack (Reynor) who helps her find Margaret after they’re separated. You can tell straight away that the script wants them to get together, but at the same time it wants to stay true to historical events, so what we’re left with is an attraction that can’t (and doesn’t) lead anywhere, and which is entirely redundant as a plot device. The same can be said for Jack’s AWOL status, a dramatic angle that is resolved with the neatness of a parcel tied up with string. (There really isn’t anything in the movie that the viewer won’t be able to guess the outcome of – and long before it happens.)

Elsewhere, Laskey and Gordon play their military detail roles as if they were auditioning for an X Factor comedy special, with Laskey mugging for all he’s worth, and Gordon’s Lieutenant Burridge behaving in such an inappropriate manner it’s ridiculous. Allam is introduced late on as a mix of low-rent pimp and black marketeer who Margaret calls Lord Stan, but it’s the fanciful way in which her royal status is exploited that raises a chuckle, as Stan uses her to get some of his working girls inside the Chelsea Barracks, and circulating amongst the guests at a party there. Again it’s this kind of non-threatening, breezy plotting that hampers the movie and stops it from having any kind of edge.

A Royal Night Out - scene3

The cast are left adrift to fend for themselves, with Watson coming off best by (ostensibly) directing herself, while the likes of Everett, Allam and Powley are stranded playing caricatures. Reynor can’t do anything with his establishment-baiting airman, and Gadon looks bewildered throughout, as if she can’t quite believe what she’s being asked to do (though, to be fair, her bewilderment could be down to the demands of the script).

Away from the uninspired direction and unimaginative script, A Royal Night Out struggles to rise above its TV movie look and feel, and some of the myriad night shots look like they were filmed during the day. And with the best will – or art direction – in the world, Hull is no substitute for London, leaving several scenes feeling incomplete in terms of the movie’s visual style. As a result, Christophe Beaucarne’s photography is choppy at best, though it suits the muddy compositions. And Luke Dunkley’s editing is so haphazard in its approach that a lot of scenes lack that all-important through line.

Rating: 4/10 – even though it’s an interpretation of what “might” have happened on the night of 8 May 1945, A Royal Night Out‘s script shows such a lack of imagination almost any other interpretation would be preferable; saved entirely by its sense of humour, and despite its being entirely nonsensical at times, the movie is one of those ideas that seemed like a good one at the time, but which should have been left well alone by all concerned.

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