Tag Archives: Steve McQueen

Widows (2018)

08 Thursday Nov 2018

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D: Steve McQueen / 130m

Cast: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Carrie Coon, Garret Dillahunt, Lukas Haas, Kevin J. O’Connor, Jacki Weaver, Matt Walsh, Adepero Oduye, Robert Duvall, Liam Neeson

In the wake of her husband’s death in a heist gone wrong, Veronica Rawlings (Davis) finds herself in a whole lot of trouble. Her husband, Harry (Neeson), along with three of his friends – all career criminals – stole two million dollars from gang boss Jamal Manning (Henry), and though his money is gone, he expects Veronica to pay him back within a month. With no money of her own, and only a notebook Harry left her that gives details of his previous heists – and the one he had planned next – Veronica decides her only option is to contact the wives of the other men in Harry’s gang, and persuade them to help her carry out his next robbery, which will net them a cool five million. Two of the women, Linda Perelli (Rodriguez) and Alice Gunner (Debicki), agree to help, but the fourth, Amanda (Coon), isn’t interested. Needing four of them to carry out the heist, Linda recruits her babysitter, Belle (Erivo). They move forward with the plan, but are unaware that they’re being watched…

An adaptation of Lynda La Plante’s novel, Steve McQueen’s latest movie is an odd beast indeed, quite formal in its approach, but with occasional directorial flourishes to remind the viewer that this isn’t just a heist movie, it’s a serious heist movie, unlike, say, Ocean’s Eight (2018). Here, lives are at stake, and the cost of failure is unthinkable. It’s a dour, earnest movie that explores notions of sexism, political expediency (care of a subplot surrounding a ward campaign involving Farrell’s reformist alderman versus Henry’s aspiring gang boss), proto-feminism, spousal betrayal, and personal legacies. The script, by McQueen and author Gillian Flynn (Gone Girl, Sharp Objects), is adroitly constructed, but though the pair have worked hard to bring the characters to life and present them against a credible backdrop (well, as credible as these kinds of movies can manage), there’s not much here that will either come as a surprise, or which doesn’t follow in an expected order. Even if you’re not familiar with La Plante’s novel, or the original British TV series, the few twists and turns in the narrative won’t have much of an impact, and getting through the movie almost becomes a tick box exercise.

That’s not to say, however, that the movie is bad, or disappointing, just oddly straightforward and dramatically sincere without ever rising above the expectations of the genre. Perhaps this kind of story has been told too many times before for McQueen to provide us with anything fresh or new. And there’s the small matter of Davis’ and Debicki’s characters having more screen time than Rodriguez’ and Erivo’s. This lop-sided approach to the main quartet seems a little counter-intuitive in a movie that seems to be promoting female solidarity, and often, some character beats are cut short in order to move on to the next phase of the heist and its planning. On the agnate side, the likes of Duvall, Kaluuya and Dillahunt are saddled with perfunctory, under-developed secondary roles, while Farrell does his best to make sense of a character whose ambivalent motives rarely make sense. Thankfully, Davis and Debicki are on hand to provide two excellent performances. That Davis is so good is a given, but it’s Debicki who shines the most, imbuing Alice with a steely survivor’s determination to make life better for herself that is both complex and credible; whenever she’s on screen, she holds the audience’s attention in a vice-like grip. That the rest of the movie doesn’t manage to do this, is again, something of a surprise, but in playing out as expected, it doesn’t disappoint entirely. Instead it’s a respectable effort that isn’t as memorable as we all might have hoped.

Rating: 7/10 – despite all the effort and all the talent involved, Widows lacks the kind of verve needed to make the thriller elements thrill, and the dramatic elements resonate; McQueen directs as if his brief was to be a pair of safe hands, and though it’s technically well put together, somewhere along the way, any idea of elevating the material doesn’t appear to have been acted on.

The 86th Annual Academy Awards – The Oscars 2014

03 Monday Mar 2014

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Oscars 2014, The

Well, here we are again, falling to our knees in observance of the Oscars, that annual back-slap-athon where Hollywood’s mightiest (and occasionally humblest) come together to give their finest performances, particularly if they’re nominated but don’t win – the cameras are watching!  Here then are the winners (and losers), my views on the ceremony, Ellen DeGeneres as host, the jokes, the acceptance speeches, and who got those all-important statuettes… and whether they deserved them.  All this, and in a fraction of the time it takes to stage the whole show.  Winners in bold.

The show got off to a good start with Ellen DeGeneres wisecracking through a great opening monologue, taking the mickey out of Jennifer Lawrence’s trip from last year, June Squibb’s age, actors as college alumni (apparently Amy Adams didn’t go) and congratulating the guy impersonating Liza Minnelli.  The theme of the night was Movie Heroes and there were … montages shown throughout the show, as well as Bette Midler singing The Wind Beneath My Wings as a follow-on to the In Memoriam segment.  Ellen also set up a great running gag involving ordering in pizza (which for once, didn’t seem like it had been rehearsed).  But she also stumbled over her words a lot, and seemed distracted; a couple of times she wasn’t even ready to camera (let’s get the Bring Back Billy Crystal campaign going now!).

There was a tribute to The Wizard of Oz sung by Pink that was as effective as it was unexpected, the usual live performances of songs nominated for Best Original Song, and fortunately, no embarrassing moments where speeches too far over while someone thanked their auntie, their budgie and/or God (that was left to one of the winners).  Over all, it was an entertaining show but it still couldn’t avoid some of the usual pitfalls – the length, the awkwardness of certain presenters, wheeling out someone on their last legs (this year, Sidney Poitier), and clips that showed several actors shouting at each other as if that’s a sign of good acting.

Best Motion Picture of the Year

American Hustle, Captain Phillips, Dallas Buyers Club, Gravity, Her, Nebraska, Philomena, 12 Years a Slave, The Wolf of Wall Street

The right choice, but the longest, most excited speech of the night by Steve McQueen, and then he started jumping about!  Presented by Will Smith.

Best Performance by an Actor in a Leading Role

Christian Bale (American Hustle), Bruce Dern (Nebraska), Leonardo DiCaprio (The Wolf of Wall Street), Chiwetel Ejiofor (12 Years a Slave), Matthew McConaughey (Dallas Buyers Club)

No problems here except for McConaughey’s rambling, though emotional speech.  Presented by Jennifer Lawrence.

Best Performance by an Actress in a Leading Role

Amy Adams (American Hustle), Cate Blanchett (Blue Jasmine), Sandra Bullock (Gravity), Judi Dench (Philomena), Meryl Streep (August: Osage County)

A superb performance given its rightful due properly rewarded and with a pro-women stance in her speech from Blanchett.  Presented by Daniel Day-Lewis.

Best Performance by an Actor in a Supporting Role

Barkhad Abdi (Captain Phillips), Bradley Cooper (American Hustle), Michael Fassbender (12 Years a Slave), Jonah Hill (The Wolf of Wall Street), Jared Leto (Dallas Buyers Club)

Leto made a really good speech thanking his mother in particular and made reference to the troubles in Ukraine and Venezuela; a good start to the evening, and a well-deserved award.  Presented by Anne Hathaway.

Best Performance by an Actress in a Supporting Role

Sally Hawkins (Blue Jasmine), Jennifer Lawrence (American Hustle), Lupita Nyong’o (12 Years a Slave), Julia Roberts (August: Osage County), June Squibb (Nebraska)

A standing ovation for Nyong’o tops an amazing year for the actress, and her emotional speech was a highlight.  Presented by Christoph Waltz.

Best Achievement in Directing

Alfonso Cuarón (Gravity), Steve McQueen (12 Years a Slave), Alexander Payne (Nebraska), David O. Russell (American Hustle), Martin Scorsese (The Wolf of Wall Street)

Absolutely the right result and confirmation (as if it was needed) of the effort and work Cuarón put into making Gravity.  Presented by Angelina Jolie and Sidney Poitier.

Best Writing, Screenplay Written Directly for the Screen

Woody Allen (Blue Jasmine), Craig Borten, Melisa Wallack (Dallas Buyers Club), Spike Jonze (Her), Bob Nelson (Nebraska), Eric Warren Singer, David O. Russell (American Hustle)

A popular choice and a bit of a surprise, but it could have gone to any of the nominees.  Presented by Robert De Niro and Penelope Cruz.

Best Writing, Screenplay Based on Material Previously Produced or Published

Steve Coogan, Jeff Pope (Philomena), Richard Linklater (Before Midnight), Billy Ray (Captain Phillips), John Ridley (12 Years a Slave), Terence Winter (The Wolf of Wall Street)

Spot-on and an easy choice though, noticeably, no mention for Steve McQueen in Ridley’s acceptance speech.  Presented by Robert De Niro and Penelope Cruz.

Best Animated Feature Film of the Year

The Croods, Despicable Me 2, Ernest & Célestine, Frozen, The Wind Rises

Wow, another big surprise – not!  Still, a great result though it would have been nice to see Ernest & Célestine win the Oscar.  Notable for Disney’s first win in this category, and strangely, just when there wasn’t a Pixar movie in the running.  Presented by Kim Novak and Matthew McConaughey.

Best Foreign Language Film of the Year

The Broken Circle Breakdown, The Great Beauty, The Hunt, The Missing Picture, Omar

A great win for a great movie, and one of the easiest awards of the evening to predict.  Presented by Ewan McGregor and Viola Davis.

Best Achievement in Cinematography

Roger Deakins (Prisoners), Bruno Delbonnel (Inside Llewyn Davis), Philippe Le Sourd (The Grandmaster), Emmanuel Lubezki (Gravity), Phedon Papamichael (Nebraska)

Predictable win but should have gone to Phedon Papamichael; the first big disappointment (for me) of the evening.  Presented by Amy Adams and Bill Murray.

Best Achievement in Editing

Alan Baumgarten, Jay Cassidy, Crispin Struthers (American Hustle), Alfonso Cuarón, Mark Sanger (Gravity), Martin Pensa, John Mac McMurphy (Dallas Buyers Club), Christopher Rouse (Captain Phillips), Joe Walker (12 Years a Slave)

Let the Gravity backlash continue!  Captain Phillips was by far the better edited movie nominated and should have won hands down.  Presented by Anna Kendrick and Gabey Sidoureh.

Best Achievement in Production Design

K.K. Barrett, Gene Serdena (Her), Judy Becker, Heather Loeffler (American Hustle), Catherine Martin, Beverley Dunn (The Great Gatsby), Andy Nicholson, Rosie Goodwin, Joanne Woollard (Gravity), Adam Stockhausen, Alice Baker (12 Years a Slave)

Awarded after the award for Costume Design (see below) and a well-deserved double for Catherine Martin.  Presented by Jennifer Garner and Benedict Cumberbatch.

Best Achievement in Costume Design

William Chang Suk Ping (The Grandmaster), Catherine Martin (The Great Gatsby), Patricia Norris (12 Years a Slave), Michael O’Connor (The Invisible Woman), Michael Wilkinson (American Hustle)

Unsurprising win for Mrs Luhrmann. Presented by Naomi Watts and Samuel L. Jackson.

Best Achievement in Makeup and Hairstyling

Joel Harlow, Gloria Pasqua Casny (The Lone Ranger), Adruitha Lee, Robin Mathews (Dallas Buyers Club), Steve Prouty (Jackass Presents: Bad Grandpa)

Again, an unsurprising win; it almost seemed as if the other two movies were there just so there could be a list.  Presented by Naomi Watts and Samuel L. Jackson.

Best Achievement in Music Written for Motion Pictures, Original Score

William Butler, Andy Koyama (Her), Alexandre Desplat (Philomena), Thomas Newman (Saving Mr. Banks), Steven Price (Gravity), John Williams (The Book Thief)

A good result for a Brit, but not so sure that either Desplat or Newman shouldn’t have won instead.  Presented by Jamie Foxx and Jessica Biel.

Best Achievement in Music Written for Motion Pictures, Original Song

Kristen Anderson-Lopez, Robert Lopez – Let It Go (Frozen), Bono, Adam Clayton, The Edge, Larry Mullen Jr, Brian Burton – Ordinary Love (Mandela: Long Walk to Freedom), Karen O – The Moon Song (Her), Pharrell Williams – Happy (Despicable Me 2)

Fun acceptance speech and one of the best of the night but it should have been given to The Moon Song – at this stage both Frozen and The Great Gatsby had won more awards than 12 Years a Slave.  Presented by Jamie Foxx and Jessica Biel.

Best Achievement in Sound Mixing

Christopher Boyes, Michael Hedges, Michael Semanick, Tony Johnson (The Hobbit: The Desolation of Smaug), Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro (Captain Phillips), Andy Koyama, Beau Borders, David Brownlow (Lone Survivor), Skip Lievsay, Niv Adiri, Christopher Benstead, Chris Munro (Gravity), Skip Lievsay, Greg Orloff, Peter F. Kurland (Inside Llewyn Davis)

Again, not much of a surprise, but should really have gone to Captain Phillips.  Presented by Chris Hemsworth and Charlize Theron.

Best Achievement in Sound Editing

Steve Boeddeker, Richard Hymns (All Is Lost), Brent Burge (The Hobbit: The Desolation of Smaug), Glenn Freemantle (Gravity), Wylie Stateman (Lone Survivor), Oliver Tarney (Captain Phillips)

See above.  Presented by Chris Hemsworth and Charlize Theron.

Best Achievement in Special Effects

Tim Alexander, Gary Brozenich, Edson Williams, John Frazier (The Lone Ranger), Roger Guyett, Pat Tubach, Ben Grossman, Burt Dalton (Star Trek: Into Darkness), Joe Letteri, Eric Saindon, David Clayton, Eric Reynolds (The Hobbit: The Desolation of Smaug), Christopher Townsend, Guy Williams, Erik Nash, Daniel Sudick (Iron Man 3), Timothy Webber, Chris Lawrence, David Shirk, Neil Corbould (Gravity)

If Gravity hadn’t won then there should have been a steward’s enquiry; well-deserved and absolutely the one undeniable shoo-in of the ceremony.  Presented by Emma Watson and Joseph Gordon-Levitt.

Best Documentary, Feature

The Act of Killing, Cutie and the Boxer, Dirty Wars, The Square, 20 Feet from Stardom

First real surprise of the night given that everyone pretty much expected The Act of Killing to win, and a chance to hear the amazing Darlene Love in full voice.  Presented by Bradley Cooper.

Best Documentary, Short Subject

Cavedigger, Facing Fear, Karama Has No Walls, The Lady in No 6, Prison Terminal: The Last Days of Private Jack Hall

A moving piece and well-deserved, and a tribute to Alice Sommer-Herz who sadly died a week ago.  Presented by Kate Hudson and Jason Sudeikis.

Best Short Film, Animated

Feral, Get a Horse!, Mr Hublot, Possessions, Room on the Broom

A great win for this French movie, and much deserved, in what was a very close category.  Presented by Kim Novak and Matthew McConaughey.

Best Short Film, Live Action

Do I Have to Take Care of Everything?, Helium, Just Before Losing Everything, That Wasn’t Me, The Voorman Problem

A great result and proof that the Academy gets it right pretty much every time in the “minor” short film categories.  Presented by Kate Hudson and Jason Sudeikis.

12 Years a Slave (2013)

10 Friday Jan 2014

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12 Years a Slave

D: Steve McQueen / 134m

Cast: Chiwetel Ejiofor, Michael Fassbender, Lupita Nyong’o, Benedict Cumberbatch, Paul Dano, Sarah Paulson, Adepero Oduye, Paul Giamatti, Garret Dillahunt, Brad Pitt, Alfre Woodard, Scoot McNairy, Taran Killam

In 2013 the movie that drew most people to the cinema was the third solo outing for Marvel’s high-tech reboot of the Tin Man, Iron Man 3. That movie was fun, a well-made piece of confectionery that was hyped, trailed and previewed to within an inch of its life. Enjoyable as it was though, it was still the equivalent of a Big Mac and fries, offering a quick fix for the Geek Squads and providing little or no nourishment for anyone not au fait with Marvel’s plan for Cinematic World Domination. But if 2013 is to be remembered as the year a man in a can was seen by more people than any other movie, what of that other way of remembering any given year: by the movie that was easily the best the year had to offer.

In some years, that “choice” has been easy. In 1930, All Quiet on the Western Front. In 1945, Les enfants du paradis. In 1962, Lawrence of Arabia. In 1974, The Godfather Part II. In 1993, Schindler’s List. And in 2013…a movie most of us won’t see until 2014. A movie called 12 Years a Slave.

Directed by McQueen from the account written by Solomon Northup, a free man living in New York with his wife and two children in 1841, 12 Years a Slave is a devastating account of one man’s abduction into slavery, and his subsequent experiences on the plantations of Louisiana. Northup is an accomplished musician, well-respected, and flattered when two members of a circus troupe approach him to join their company.  He journeys from New York to Washington with them only to wake up after a night’s drinking to find himself in chains and told he is now a slave; his name is also denied him and he is told he is to answer to Platt.  At first he finds himself at the mercy of (the ironically named) slave trader Freeman (Giamatti), until he is sold, along with a woman called Eliza (Oduye), to plantation owner Mr Ford (Cumberbatch).  Ford is in the process of adding extra buildings to his land, and has a master carpenter Tibeats (Dano) who oversees the construction. Northup impresses Ford with his engineering skills but soon makes an enemy of Tibeats.  Before long, Tibeats pushes Northup too far and Northup beats him with his own whip. Tibeats swears revenge against Northup and returns with two men; they proceed to hang Northup but are stopped by Ford’s overseer, Chapin (J.D. Evermore).  Although Chapin stops Northup from being killed, he leaves him hanging from the tree with his toes barely touching the ground to save himself from being strangled; it’s only when Ford returns at the end of the day that he is cut down.  But Ford’s leniency comes at a price: he must sell Northup on in order to save his plantation from Tibeats’ wrath.

Where Ford has been a considerate and compassionate man, Northup’s new owner, Edwin Epps is anything but.  He has his slaves  whipped if they don’t make the daily quota for picking cotton, and when his wife complains that he is paying too much attention to one of the female slaves, Patsey (Nyong’o), he tells her coldly that he will see the back of her before he will rid himself of Patsey.  Northup becomes Patsey’s confidante, and he does his best to keep Epps from bothering her, but it doesn’t always work.  It’s only when a carpenter named Bass (Pitt) comes to work on the plantation, and speaks of equality, that Northup takes courage and explains his situation.  Bass agrees to help him, and some time later, Northup is freed and reunited with his family.

12 Years a Slave - scene

From the outset, 12 Years a Slave grabs the attention and keeps its audience riveted.  The topic of slavery is one that has been only fitfully addressed in cinema, and while movies such as Amistad (1997), and Amazing Grace (2006) have taken a political approach to the issue, there hasn’t been a movie that has looked at it from both the financial side of things, and the actual day-to-day living experience.  Throughout the movie it’s made clear that slavery is a business, and a lucrative one for people such as the trader Freeman, and for the plantation owners who invest in slaves as a means of reaping huge profits.  Against this wellspring of money, a slave’s life is worth nothing at all, and the movie delivers this message on several occasions.  When Northup is on tiptoe trying not to hang, it’s heartbreaking to see the other slaves carry on with their tasks as if he isn’t there; only by going about their business can they add value to their lives.

12 Years a Slave is also quite graphic in its depiction of the violence endemic in slavery, with one on-screen whipping being truly horrifying, and its the casual nature of it all that the movie depicts so well, along with the hateful racism that fuelled so much of it.  Early on, before Northup is placed with Freeman, he is beaten with a paddle.  The scene is shocking both for what happens to Northup, and for the sustained nature of the beating.  Epps’s wife throws a decanter in Patsey’s face, her racism mixed with jealousy and injured pride.  There are other moments where violence escalates from nothing, and there is a palpable sense of the violent undercurrents that were prevalent during this period.  If the movie presents these aspects unflinchingly, then it is to show the full horror of the constant threat of injury or death that slaves experienced.  (And to anyone who feels these scenes were unnecessary or uncomfortable to watch, then you are missing the point.  The life of a slave was far worse than anything depicted here, and by showing us the things that we do see, the movie reinforces the fact that, so far removed from both those times and those circumstances as we are in our daily lives, we can easily fail to realise how terrible slavery actually was.)

Thankfully, in amongst the brutal violence and the despair there are quiet moments of hope to offset the horror.  Northup’s relationship with Patsey is affecting and desperately sad at the same time, and shows how two people can still retain a measure of their humanity despite existing under appalling conditions.  Thanks to both Ejiofor and Nyong’o, their scenes together are both emotionally charged and riveting viewing.

The heart of the film is Ejiofor’s towering performance, a career best that is breathtaking to watch as he depicts a man who somehow retains his dignity and his sense of self through twelve years of degradation and terror.  Ejiofor holds the attention in every scene he’s in, deflecting focus even from Fassbender, whose performance as Epps is mesmerising in its intensity.  The audience is drawn to Ejiofor as their moral compass and guide; without him, the movie would be a series of vignettes without a central point of reference.  He displays a clear understanding of the emotions that governed Northup’s reactions and response to his situation: the despair, the anger, the resignation to his plight, the fear, the barely acknowledged hope of regaining his freedom, the sadness, the sense of loss, and most effective of all, the will to survive.  It’s a magnificent achievement.

As already mentioned, Fassbender is on brilliant form as the tortured, torturing Epps, adding layers to a character who could have been portrayed more matter-of-factly and with less attention to nuance and interpretation.  His performance is mercurial, adding a sense of uncertainty to Epps that makes his unpredictable nature more dangerous.  His scenes with Ejiofor are akin to an acting masterclass.  In the various supporting roles, Dano stands out as the mealy-mouthed, insecure Tibeats, all puffed-up pride and coiled hostility, while Cumberbatch continues to impress as the fair-minded, socially conscious Ford.  Paulson also impresses as Mistress Epps, her eyes never once betraying any emotion other than disgust.  And making her feature debut, Nyong’o is superb as the object of Epps’s lust, imbuing Patsey with an inner strength and determination that offsets the cruelty she receives at the hands of Epps and his wife.

This is McQueen’s third feature – after Hunger (2008) and Shame (2011) – and serves to reinforce how talented a director he is.  His control of the material is confident and assured, and he elicits strong performances from everyone in the cast.  In conjunction with cinematographer Sean Bobbitt, McQueen places the camera in exactly the right place in each scene, framing the action expertly and with close attention to the physical and emotional requirements of each set-up.  His decision to make 12 Years a Slave has proved to be a wise one, and the way in which he’s overcome the difficulties inherent in telling such a complex story is compelling.

12 Years a Slave is a harrowing, disturbing look at a shameful period in US history, and while some people might say that we don’t need to see the barbarity of the times to know it was evil, a reminder as powerful as this one is should always be welcome.  With stand-out performances, an insightful, intricate script courtesy of John Ridley, and a score by Hans Zimmer that perfectly supports the emotional and dramatic moments in the film, 12 Years a Slave is a movie deserving of everyone’s attention.

Rating: 9/10 – a modern masterpiece, with much to say about the nature of evil as the will to survive it; an engrossing, deeply moving account of one man’s journey through a contemporary hell and his eventual salvation.