Tag Archives: Ryan Coogler

Monthly Roundup – February 2018

28 Wednesday Feb 2018

Posted by in Movies

≈ 1 Comment

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

‘C’-Man (1949) / D: Joseph Lerner / 77m

Cast: Dean Jagger, John Carradine, Lottie Elwen, Rene Paul, Harry Landers, Walter Vaughn, Adelaide Klein, Edith Atwater

Rating: 5/10 – a US Customs agent (Jagger) finds himself looking for the killer of his best friend (and fellow Customs agent), and the person responsible for the theft of a rare jewel – could they be the same man?; an odd noir crime thriller that betrays its low budget production values, ‘C’-Man is short on character but long on action, and is fitfully entertaining, though the performances vary wildly and the script contains some very po-faced dialogue, making it a movie you can’t really take your eyes from – and not in a good way.

When We First Met (2018) / D: Ari Sandel / 97m

Cast: Adam Devine, Alexandra Daddario, Shelley Hennig, Andrew Bachelor, Robbie Amell

Rating: 3/10 – Noah (Devine) falls for Avery (Daddario) and winds up in the friend zone, but thanks to a magic photo booth, he gets the chance to go back and change their relationship into a romantic one; a dire romantic comedy that struggles to be both romantic and funny, When We First Met can’t even make anything meaningful out of its time travel scenario, and is let down by a banal script and below-par performances.

The Phantom (1931) / D: Alan James / 62m

Cast: Guinn Williams. Allene Ray, Niles Welch, Tom O’Brien, Sheldon Lewis, Wilfred Lucas, Violet Knights, William Gould, Bobby Dunn, William Jackie

Rating: 3/10 – a reporter (Williams) tries to track down the titular criminal mastermind when he targets the father of his girlfriend (Ray), but finds it’s not as simple a prospect as he’d thought; an early talkie that shows a lack of imagination and purpose, The Phantom struggles from the outset to be anything but a disappointment, what with its unconvincing mix of comedy and drama, its old dark house scenario, and a clutch of amateur performances that drain the very life out of it at every turn.

Black Panther (2018) / D: Ryan Coogler / 134m

Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Sterling K. Brown, Angela Bassett, Forest Whitaker, Andy Serkis, Florence Kasumba, John Kani

Rating: 7/10 – the king of outwardly poor but inwardly technologically advanced Wakanda, T’Challa (Boseman), faces a coup from an unexpected source (Jordan), while trying to work out whether or not his country’s scientific advances should be shared with the wider world; though Black Panther does feature a predominantly black cast, and speaks to black issues, this is still a Marvel movie at the end of the day and one that adheres to the template Marvel have created for their releases, making this an admittedly funny and exciting thrill ride, but one that’s also another formulaic entry in the Marvel Cinematic Universe.

Atomic Blonde (2017) / D: David Leitch / 115m

Cast: Charlize Theron, James McAvoy, John Goodman, Toby Jones, Eddie Marsan, James Faulkner, Roland Møller, Sofia Boutella, Bill Skarsgård, Sam Hargrave, Jóhannes Haukur Jóhannesson, Til Schweiger

Rating: 6/10 – in the days before the fall of the Berlin Wall, a spy (Theron) must find a list of double agents that are being smuggled into the West, a task complicated by the involvement of the Americans, the Russians and a number of other interested parties; an attempt to provide audiences with a female John Wick, Atomic Blonde does have tremendous fight scenes, and a great central performance by Theron, but it’s let down by a muddled script, an even more muddled sense of the period it’s set in, and by trying to be fun when a straighter approach would have worked better.

Beauty and the Beast (2017) / D: Bill Condon / 129m

Cast: Emma Watson, Dan Stevens, Luke Evans, Josh Gad, Kevin Kline, Ewan McGregor, Ian McKellen, Emma Thompson, Nathan Mack, Audra McDonald, Stanley Tucci, Gugu Mbatha-Raw

Rating: 5/10 – the classic fairy tale, and previously a classic animated movie, is given the live action treatment by Disney; if the latest installment of a certain space opera hadn’t been released in 2017, Beauty and the Beast would have been the number one movie at the international box office, but though the House of Mouse might point to this as a measure of quality, the reality is that Watson was miscast, the songs lack the emotional heft they had in the animated version, and the whole thing has a perfunctory air that no amount of superficial gloss and shine can overcome.

The Case of the Black Parrot (1941) / D: Noel M. Smith / 61m

Cast: William Lundigan, Maris Wrixon, Eddie Foy Jr, Paul Cavanagh, Luli Deste, Charles Waldron, Joseph Crehan, Emory Parnell, Phyllis Barry, Cyril Thornton

Rating: 6/10 – a newspaper reporter (Lundigan) gets involved in a case involving a master forger (the Black Parrot), an antique cabinet, and a couple of mysterious deaths; an enjoyable piece of hokum, The Case of the Black Parrot gets by on a great deal of understated charm, a whodunnit plot that doesn’t overplay its hand, and by having its cast treat the whole absurd undertaking with a sincerity that is an achievement all by itself.

Murder on the Orient Express (2017) / D: Kenneth Branagh / 114m

Cast: Kenneth Branagh, Tom Bateman, Lucy Boynton, Olivia Colman, Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Manuel Garcia-Rulfo, Derek Jacobi, Marwan Kenzari, Leslie Odom Jr, Michelle Pfeiffer, Sergei Polunin, Daisy Ridley

Rating: 5/10 – the famous Belgian detective Hercule Poirot (Branagh) is faced with a complex mystery: which one of a dozen passengers killed an infamous kidnapper, and more importantly, why?; yet another version of the Agatha Christie novel, Murder on the Orient Express strands its capable cast thanks to both an avalanche and a tepid script, leaving its director/star to orchestrate matters less effectively than expected, particularly when unravelling the mystery means having the suspects seated together in a way that clumsily replicates the Last Supper.

The Boss Baby (2017) / D: Tom McGrath / 97m

Cast: Alec Baldwin, Steve Buscemi, Jimmy Kimmel, Lisa Kudrow, Tobey Maguire, Miles Bakshi, James McGrath, Conrad Vernon, ViviAnn Yee, Eric Bell Jr, David Soren

Rating: 6/10 – when seven year old Tim (Bakshi) finds he has a new baby brother, Theodore (Baldwin) – and one dressed in a business suit at that – he also finds that Theodore is there to stop babies from being usurped in people’s affections by puppies; a brightly animated kids’ movie that takes several predictable swipes at corporate America, The Boss Baby wants to be heartwarming and caustic at the same time, but can’t quite manage both (it settles for heartwarming), and though Baldwin may seem like the perfect choice for the title character, he’s the weakest link in a voice cast that otherwise sells the performances with a great deal of enthusiasm.

Game Night (2018) / D: John Francis Daley, Jonathan Goldstein / 100m

Cast: Jason Bateman, Rachel McAdams, Kyle Chandler, Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Jesse Plemons, Danny Huston, Michael C. Hall

Rating: 5/10 – when a group of friends led by Max (Bateman) and Annie (McAdams) are invited to a game night at the home of Max’s brother, Brooks (Chandler), the evening descends into murder and mayhem, and sees the group trying to get to the bottom of a real-life mystery; like an Eighties high concept comedy released thirty years too late, Game Night has a great cast but little direction and waaaay too much exposition clogging up its run time, all of which makes a couple of very funny, very inspired visual gags the only reward for the viewer who sticks with this to the end.

Advertisements

Creed (2015)

15 Friday Jan 2016

Posted by in Movies

≈ Leave a comment

Tags

, , , , , , , , , , , ,

Creed

D: Ryan Coogler / 133m

Cast: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Andre Ward, Anthony Bellew, Ritchie Coster, Jacob “Stitch” Duran, Graham McTavish, Gabe Rosado

The Rocky series has been a recurring staple of moviegoing since Sylvester Stallone first introduced us to the Italian Stallion back in 1976. The first movie had so much heart it sometimes felt like it would burst, and Stallone’s performance was a perfect match for the character. Rocky II (1979) was the inevitable sequel, and Stallone was canny enough to replicate enough of what made the first movie so good with newer elements that complemented the original. But then he made an unnecessary third movie, Rocky III (1982), and suddenly Rocky was fighting for an uneasy mix of revenge and morality. And then we had the blatant jingoism of Rocky IV (1985), with the Italian Stallion representing American pride at its most unseemly against a near unstoppable Russian opponent (thank God the Cold War was nearly over).

That seemed to be it, but then Stallone came up with Rocky V (1990), an attempt at scaling back the stylistic excesses of the previous two movies, but which lacked an interesting story. By then, Stallone was forty-four and age was beginning to make its point (as the movie recognised), and the chances of Rocky Balboa still stepping into the ring and taking even more poundings was quickly dismissed. But just as you can never keep a good fighter down, a sixth movie appeared, Rocky Balboa (2006). It showed more of a respect for the series than parts III – V, and it gave Stallone a chance to show just how much affection he had for the character, and that Rocky could be rescued from unintended parody. And that, surely, everyone felt, was that.

Creed - scene3

Well, almost. Now we have a seventh movie and a sixth sequel, except that this time around, the focus isn’t on Rocky Balboa but instead it’s on the illegitimate son of his most famous opponent, Apollo Creed. He has the appropriate (and unfortunate) name of Adonis, and when we first meet him he’s a young boy in a childcare facility. He’s also beating up one of the other boys, so right away we know he’s got anger issues. And we know that these issues will resurface later in the movie to provide an obstacle to getting where he wants to be, and if by chance he meets someone significant, in being with the person he wants to be with. He’s given an unexpected reprieve from a young life busting other kid’s noses by the arrival of Apollo Creed’s widow, Mary Anne (Rashad), who takes him home with her.

As an adult, Adonis (Jordan) is conflicted: he has a well-paid office job but he also fights down in Tijuana where he’s undefeated after fifteen bouts. He’s self-taught, self-motivated, but knows he needs a proper coach to help him make a name for himself in the ring. And that name needs to be Johnson, his mother’s name, because he doesn’t want to make it on the back of his father’s legendary status. So he resigns from his job, and moves from Los Angeles to Philadelphia, home of another boxing legend. There he approaches Rocky, who after the usual demurring, agrees to help him train to be a better, professional fighter. And he meets someone significant, in the form of wannabe musician and downstairs neighbour, Bianca (Thompson).

Adonis is focused, and when he wins his first US fight against local boxer Leo ‘The Lion’ Sporino (Rosado), the cat is soon out of the bag in terms of his heritage. And with World Light-Heavyweight Champion ‘Pretty’ Ricky Conlan (Bellew) needing a fight in the next six months, the stage is set for the kind of fairytale ending that only happens in Hollywood boxing movies, and which includes highlights of a highly physical, hugely punishing twelve round bout (basically the kind that rarely happen in the real world).

Creed - scene1

If some of the summary above sounds a little cynical, then it is. Creed is a movie that follows a well established template, and is incredibly easy to predict, right down to the outcome of Adonis’s bout with Conlan. There’s nothing here that you won’t have seen before, and there’s little that’s new or innovative. But fortunately, this is a movie where all that doesn’t matter, because what it does have is a fondness for and a charity towards the characters that allows them to feel like old friends even though you’ve only just met them. Adonis is the eternal child trying to find a place for himself in the world, and with only a single means to do it. He’s matched by Bianca, whose progressive hearing loss means she has to concentrate on her music almost to the exclusion of everything else. They’re both sympathetic characters and easily likeable, and both Jordan and Thompson have no trouble investing them with the kind of emotional honesty needed to avoid their becoming stereotypes.

And then there’s the man himself, Rocky Balboa, aged, resigned to running his restaurant, and staying adrift from the world that made him famous. This is a character that Stallone has played for nearly forty years all told, and this is finally the movie where he gives his best performance as the Italian Stallion. It’s a modest, surprisingly complex performance, with delicate shadings that haven’t been seen in a Rocky movie before, and Stallone appears so at home in the role that it really does seem difficult to separate the two: is Stallone Rocky, or is Rocky Stallone? Either way, the much maligned actor is excellent in his signature role, and he reminds us of just how much heart and soul the character had back in the beginning.

Away from Stallone, much of the movie’s success is down to the direction of Ryan Coogler. Coogler adopts a slightly unconventional visual approach to the movie which pays off during its quieter moments as the widescreen image is used to highlight a range of emotions. He’s also adept at keeping the camera in the ring, having it circle the boxers (and sometimes getting in between them) and prowl around every punch and blow. It’s a fluid performance by the camera, and superbly orchestrated by Coogler and DoP Maryse Alberti. The editing by Claudia Castello and Michael P. Shawver is also a plus in these sequences, interspersing the fluid camerawork with quick cuts and flourishes when the action needs to get in tight.

Creed - scene2

There are references to the earlier movies throughout, though bizarrely, Rocky’s early morning training run is transformed completely, with Adonis trailed and then overtaken by local youngsters on a variety of souped-up bikes. Bill Conti’s iconic score is in there as well, though you might not always recognise it, and of course, those steps outside the Philadelpha Museum of Art get a visit, but in a way that’s less majestical and more realistic. Fans will be pleased to see so much effort being put into what is the seventh movie in the series, and with the torch being passed from Stallone to Jordan, there’s always the possibility that we’ll be following Adonis Creed’s career for some time to come.

Rating: 8/10 – on a par with the first two movies, Creed is hugely enjoyable, and benefits from a script – by Coogler and Aaron Covington – that puts the characters first before the fight scenes; if there still remains a lack of development in some areas (the various subplots), there’s more than enough here to keep old, new and non-fans alike happy and satisfied.

Fruitvale Station (2013)

13 Friday Jun 2014

Posted by in Movies

≈ Leave a comment

Tags

, , , , , , , , , , , , ,

Fruitvale Station

D: Ryan Coogler / 85m

Cast: Michael B. Jordan, Melonie Diaz, Octavia Spencer, Kevin Durand, Chad Michael Murray, Ahna O’Reilly, Ariana Neal, Keenan Coogler, Trestin George, Joey Oglesby, Michael James, Marjorie Crump-Shears

Oscar Grant III (Jordan) is a twenty-two year old resident of the Bay Area in San Francisco.  On New Year’s Eve 2008 he has a number of  problems he’s trying to deal with: he’s had a one night stand that his girlfriend Sophina (Diaz) hasn’t fully forgiven him for, he’s been unemployed for two weeks but hasn’t told Sophina, he’s holding drugs that he is expected to sell, the rent is due on January 1st and he doesn’t have the money, and to cap it all it’s his mother’s birthday (more of a welcome distraction than a problem, but still something to be added to the mix).  Oscar has done time and is trying to make a new life for himself, but all these problems seem to be holding him back.

As the day progresses we see him struggle with the demands of being a father – to his endearing daughter, Tatiana (Neal) – of being an ex-employee trying to get his job back, and how to put his drug-related past behind him.  He sees or speaks to friends and family, helps out a stranger in the supermarket where he used to work, antagonises his ex-boss, shows some kindness to a stray dog that gets run over, he gets rid of the drugs he’s holding, and he helps organise his mother’s birthday party.  After the party, Oscar, Sophina and some of their friends take the train to the Embarcadero to see in the New Year.  Returning home around two a.m., an altercation breaks out on the train as it arrives at the Fruitvale Station.  Transit cops at the station detain Oscar and three of his friends.  When one of them is handcuffed, Oscar protests enough for two of the cops – Officers Caruso (Durand) and Ingram (Murray) – to restrain him face down on the ground.  In the process of handcuffing Oscar, Ingram stands clear enough to draw his gun and shoot Oscar in the back…

Fruitvale Station - scene

By now, anyone watching Fruitvale Station will probably know that Oscar died from his wounds (though it does come as a bit of a shock to learn that had he lived, he would have done so minus his right lung).  In recreating the events leading up to and surrounding Oscar’s death, writer/director Coogler has created a fascinating and complex movie that doesn’t paint Oscar as a resolutely good man, but as a man beset by doubts and fears, and with a temper that can get the better of him – as best displayed in a flashback scene set on New Year’s Eve 2007, when Oscar was in prison (it also helps to explain why the altercation on the train came to happen).  He’s also a generous man, a devoted dad, and doing his best to get his life moving forward on a new track.  He has hopes and dreams, just like everyone else, and it’s this mix of good and bad that makes Oscar so credible as a person, and Jordan’s performance so convincing.

It’s a tribute to Coogler’s handling of the material that even though we know the eventual outcome of the movie, there’s little or no attempt to foreshadow the events that occurred on the platform at Fruitvale Station (the encounter with the stray dog comes close, highlighting as it does Oscar’s innate concern for others, a factor in what happened on the platform).  It’s not until his mother, Wanda (Spencer) persuades him to take the train that night, and not drive, that the often – in movies, at least – convenient hand of Fate steps in.  Once the fight breaks out on the train, the movie also speeds up, swapping its laid-back editing style (courtesy of Claudia Costello and Michael Shawver) for a brisker, faster-paced approach that lends an urgency to the inevitability of Oscar’s shooting.  And when the fatal shot is fired, the investment in Oscar that Coogler has built up, makes it all the more shocking.  It’s an unforgettable moment, and the suddenness of it is like a blow.

Being a true story there have been the usual claims and counter-claims about the movie’s authenticity, with various scenes coming under fire for not having happened at all (the scene with the dog), while Coogler has been accused of manipulating events to suit the needs of the movie.  It’s a very emotive issue, but any movie based on real events will always be “unfaithful” in some respects, and artistic licence will always play a part in how such a movie is put together.  And Fruitvale Station is no different.  But what it gets right is the everyday nuances of Oscar’s life, and the absolute injustice meted out to him by an officer who over-reacted in a situation he wasn’t fully in control of (it’s interesting that while Oscar and his family are known by their real names, the officers involved in Grant’s death have been renamed).  With these aspects so well constructed and identified, the movie gains a strength that is at once restrained and grimly moving.

Jordan (as mentioned above) is convincing throughout, and shows a range and quality to his performance that elevates his portrayal of Oscar, and he’s both sensitive and quietly eloquent.  It’s a bravura performance, as effective for its quiet moments as its dramatic ones.  The rest of the cast put in equally sensitive performances – Spencer’s turn as Oscar’s mother fully encapsulating the sadness she must have felt at the tragic result of persuading Oscar to take the train – though Durand is perhaps a little too heavy-handed as one of the cops that pin Oscar to the ground (he starts off as angry and unyielding and stays that way).

Rating: 8/10 – whatever your thoughts about the merits of adapting a true story for the screen, Fruitvale Station is one of the more honourable movies out there, and avoids any hint of sensationalism with ease; with a superb performance from Jordan, and inspired direction from Coogler, Oscar Grant’s final twenty-four hours are treated with both an admirable constraint and an unsuppressed sense of outrage.