Based on a true story, “Above Suspicion,” starring “Game of Thrones’” Emilia Clarke, now on VOD, is set in small Kentucky where there are only two ways to make money since the mine closed, “one is the drug business and the other is the funeral business.”
Clarke is Susan Smith, living hand-to-mouth in her Kentucky home town. She wants a better life but drug addiction and her abusive ex-husband’s (Johnny Knoxville) welfare scam has her tied down.
When the married, ambitious FBI agent Mark Putnam (Jack Huston) comes to town there appears to be opportunity for both. He sees her as a conduit of information, a snitch, she thinks he might be her way out. When their work relationship turns romantic, the dynamic changes but when he realizes the error of his ways, Susan becomes obsessed and vengeful.
There’s more but I won’t spoil it for you. The movie kind of does though in its opening minutes. (MILD SPOILER COURTESY OF THE MOVIE) “You know what’s the worst part about being dead?” Susan asks in the opening narration. “You get too much time to think.” It’s a film noir device that works well in “Sunset Boulevard,” but in this case sucks some of the life, literally, out of the storytelling.
A mish mash of drug busts, drawls, deception and clearly telegraphed Southern Gothic plot points, “Above Suspicion” settles on a true crime format instead of digging a little deeper to expose the often-troubled relationship between impoverished people and the folks who are meant to protect them. Instead, it feels like a greatest hits collection of opioid movie tropes tied together with outsized Kentucky accents.
Clarke and Knoxville dirty up real nice but the film’s investment in hard knock poverty porn over substance plays more like an episode of “Dateline” than a cinematic experience.
A quick title IMDB search reveals the name “Above Suspicion” has been used at least twelve times, dating back to 1943. This most recent addition to the ever-growing list of “Above Suspicion” titled movies is about as generic as the common name would imply.
Richard sat down with Paul Bettany, who plays intergalactic boogeyman Dryden Vos in “Solo: A Star Wars Story,” to discuss why the actor is feeling blessed for his role.
These days Jojo Moyes is a bestselling author with a movie adaptation about to hit screens.
But before she wrote her best-known book she says, “I had not troubled the bestseller charts.”
The former journalist, who has written 13 novels, hit publishing pay dirt with Me Before You, a romance about a young woman who has a life-changing relationship with a paralyzed man.
“I was driving my kids home from school,” says Moyes, “and I heard this story on the news about a young athlete who had been left quadriplegic after an accident.
“Several years into life as a quadriplegic he had persuaded his parents to take him to Dignitas, which is a centre for assisted suicide in England to end his life.
“I was just really shocked by this story because as a human and a parent I could not envisage how a parent would agree to do that.
“I kept thinking I would fight to the death to keep my kids alive. Because I am an ex journalist, I started to read around it and read more about this young man and read more about the issue and I discovered it wasn’t as black and white as I wanted to believe. Then it got me thinking, what would I be like if I were him? What would it be like to be his mother? What would it be like to be his girlfriend?”
The book sold north of 5 million copies and is now a movie starring Games of Thrones dragon lady Emilia Clarke. The 29-year-old actress plays the relentlessly cheerful Louisa, caregiver to quadriplegic Will, played by The Hunger Games star Sam Claflin.
“I read the amazing book first,” the effervescent Clarke says. “I was reading it to see if I wanted to be in it. In the first couple of pages of Lou (I thought) this is who I am. This is so much me in every way. Then there was the story itself and the beauty within it; the heartbreak, the joy and the laughter fell on top of one another and I just said yes.
“I understand (Louisa) innately because if things ever get too dire I’m going to crack a joke. We’re going to laugh through this. In those moments, at that peak when something bad has happened, and you’re like, ‘Let’s laugh about it,’ as you’re laughing you start crying.
She also says she had a rigorous rehearsal process with co-star Claflin, so she got to know her character and their story really well.
“When you’ve got all that knowledge someone only has to say one thing and you are there because you have built her within you. You’ve built the story around you.”
Moyes says finding the right person to play Louisa was important to not only the success of the film, but also to keep the fans of the book happy.
“I felt a huge responsibility to those people because it’s not like this has only been read by 20,000 people,” says Moyes.
“This is a much bigger thing. I will defy anybody to see Emilia as Lou and not feel this is a true representation of the character.
“When I picture Lou, I can’t help but picture Emilia. That is how fully she has taken root in my imagination.”
In “Me Before You,” a new three-hankie weepie based on the bestselling novel by Jo Jo Moyes, Emilia Clarke leaves behind her “Game of Thrones” persona as Daenerys Stormborn of the House Targaryen—a.k.a. First of Her Name, Queen of the Andals and the First Men, Khaleesi of the Great Grass Sea, Breaker of Chains, Mother of Dragons and The Unburnt—to play Louisa Clark, an unambitious former Buttered Bun waitress who takes a job that changes her life forever.
Louisa is a wide-eyed 26-year-old with no great plan for her life. After six years of serving tea and scones to the elderly clients of The Buttered Bun Café she loses her job when the place shuts down. Jobs are scarce in the village—“There are no jobs. I should know,” says her under employed father (Brendan Coyle).—and her family desperately needs the money she brings in.
Prepared to take any job she visits the local employment center where they have just the thing for her. “There’s nothing about having skills so it’s perfect for you,” says the staffer as he tells her about the position of care assistant and companion to Will Traynor (“The Hunger Games’s” Sam Claflin), a recently paralyzed man so wealthy he lives in the local castle.
For most of his life Will was Louisa’s opposite, a robust go-getter who lived life to the fullest. Now, confined to a wheelchair with a spinal chord injury, he feels so lost he strikes a deadly deal with his parents. He will give them six months to help him find happiness, and if that doesn’t happen he’s off to Dignitas in Switzerland to die with dignity and put an end to his pain and constant exhaustion. That’s where Louisa comes in. “It would be nice if he thought of you as a friend,” explains his mother (Janet McTeer), “and not a paid professional.” Her primary purpose is to convince him that life can be just as rewarding as it was before the accident. Of course, before you can say Nicholas Sparks three times really fast, they fall for one another, but is love be enough to keep Will alive?
“Me Before You” is a fairly standard tearjerker with a lineage that can be traced back to ”Love Story” and beyond. The thing that elevates it above the usual sob story is the effervescent Clarke in the lead role. Her relentlessly upbeat charm—she has a smile so broad director Thea Sharrock almost needs a wide-angle lens to capture it—coupled with the character’s complete comfort in her quirky skin shows a much lighter side of Clarke than is ever evident on “Game of Thrones.” She proves she doesn’t need to command dragons to hand in a commanding performance.
Clarke has good chemistry with Claflin. He’s solemn enough to pull off a line like, “I sit and just about exist,” and gushy enough to breathe life into stilted dialogue like, “I just…want to be a man who has been to a concert with a girl in a red dress. Just for a few minutes more.”
Good casting makes “Me Before You” an engaging enough romance that subtly deals with larger issues like class and assisted suicide. Unfortunately by the time Ed Sheeran warbles, “Loving can hurt… It is the only thing that makes us feel alive,” in the long, drawn out final section, the movie gets a little too on the money. The “you only get one life and it is your duty to live it as fully as possible” message isn’t quite as original as the movie thinks it is, but certainly, writer Moyes and Company have their hearts in the right place.
Where would Arnold Schwarzenegger’s career be without these three simple words: “I’ll be back”? Taken from The Terminator it’s as simple a phrase as was ever uttered in the movies, but became a pop culture catchphrase, and came to define Arnold’s career on screen and off.
He’s used the line—or a slight variation on it—in three other Terminator movies and eight other films. In 1993’s Last Action Hero he says it three times! He utters it one more time as he jumps from one helicopter to another in this weekend’s Terminator Genisys.
Few actors have done so much with so little. But the perfectly crafted saying almost didn’t happen.
“In the treatment it was ‘I’ll come back,’” The Terminator director and co-writer James Cameron told me. “In the script it was ‘I’ll be back.’ I don’t remember why I changed it. It just sounded better.”
The line certainly played no small part in establishing Schwarzenegger larger-than-life action hero image even though Arnold had problems with it when they were shooting the film.
In his autobiography, Total Recall, Schwarzenegger recalls, “Our biggest disagreement was about ‘I’ll be back’. I was arguing for ‘I will be back’. I felt that the line would sound more machine-like and menacing without the contraction.
“[But] we shot it as written in the script. The truth was that, even after all these years of speaking English, I still didn’t understand contractions.”
“There is something about the way the line plays,” says Cameron, “not just Arnold’s delivery, but the fact that you’ve seen enough of him in action up to that point to know that when he says ‘I’ll be back’ something really bad is going to happen. There is a counterpoint between the innocence of the words and the threat that is a wink to the audience. And the audience likes to be in the position of knowing what is going to happen next. They may not know the details but they know something bad is going to happen and then it pays off. He just comes flying through the window in a car and takes out the whole place. So there is something kind of delicious about the anticipation that it produces.”
The line’s popularity wasn’t planned. Cameron, who has three quips on AFI’s 100 Years… 100 Movie Quotes list—“I’ll be back,” “Hasta la vista, baby” from T2 and Titanic’s “I’m king of the world!—says it is a bad idea to try and write catchphrases.
“I think it is a very hard thing to try and do that,” he says. “I think I was somewhat self conscious about it when I did Terminator 2 and he says ‘Hasta le vista baby.’ That I knew I was doing a line, an Arnold line. I think it is a very dangerous area because it can so easily blow up on you and I tend not to do that.”
Schwarzenegger has been associated with dozens of one-liners. So many, in fact that a youtube video titled 160 Greatest Arnold Schwarzenegger Quotes has over twenty million hits, but as widely imitated as “Hasta la vista, baby” was—even Chilean president Michelle Bachelet aped Arnold’s famous delivery of the line—“I’ll be back” remains his most iconic line.
After 31 years, four movies, two classics, one almost ran and one Rotten Tomatoes reject, it was only a matter of time until Hollywood had pushed the “Terminator” franchise too far and had to cannibalize itself and reinvent the story.
In “Terminator: Genisys” after time travel has landed Sarah Connor (Emilia Clarke) and Kyle Reese (Jai Courtney) to her future but his past (Huh?) Detective O’Brien (J.K. Simmons) tries to wrap his head around the situation.
“I know whatever’s going on here must be really, really complicated,” he says.
“We’re here to stop the end of the world,” says Sarah.
“I can work with that.”
Hopefully so can the audience. The fourth “Terminator” movie warns us time and time again not to pay too much attention to the plot, which is a confounding mess of time travel that completely rewrites the Connor mythology.
“Everything has changed,” says Sarah, “the 1984 John sent you to no longer exists,” which is essentially sci fi screenwriter lingo for, We’ve changed most everything you thought you knew about the “Terminator” folklore. Reese put it in simpler terms, “Time travel makes my head hurt.”
The action begins in 2029, years after Judgement Day when artificial intelligence system Skynet became sentient and tried to destroy humanity. Resistance hero John Connor (Jason Clarke) sends his right hand man (and son) Reese back in time to protect Sarah Connor, make sure she survives and in turn will live to give birth to John who will save humanity. It’s a bit of a Möbius strip, but at least it is a familiar one.
Once Reese transports back in time there’s a glitch and the past has changed. Lethal T-1000 Terminators are waiting for him and Sarah is already a warrior aided by her man-machine companion, the T-800 model Terminator (Arnold “I’m old but not obsolete” Schwarzenegger). “There’s a new mission,” says Sarah, “if the past can change so can the future.” The plan is to destroy Genisys, a computer operating system that will link everything—phones to tablets, tablets to cars… it will run the whole shebang—and will enable Skynet. And you thought having to change your Apple passwords all the time was a pain. Throwing a wrench into the job is (ALMOST A SPOILER BUT NOT REALLY) an unwelcome and unexpected family reunion.
There’s enough time travel here for three regular movies, but “Terminator: Genisys” is no regular movie. It’s a summer blockbuster meant to breathe life back into the silvery skeletoned franchise. It bigger, louder and dumber than ever before with a big action sequence every ten minutes and an ending that guarantees a sequel. The heretical meddling with the story aside, “Terminator” fans will likely enjoy watching the relentless T-1000 (Byung-hun Lee) scenes, old Arnold going mano a mano with a younger version of himself or the relationship between Sarah and the T-800 (although she calls him “Pops” too many times for my taste) but endless exposition—this is a story that needs some explaining—drags the middle part of the movie down.
“Terminator Genisys” is robotic in its presentation of the story. In an effort to make something new out of the pieces of the past, the movie relies on twists and time travel theatrics to push the plot instead of an actual coherent story. Reese’s past may be O’Brien’s present and Connor’s future, but the time spent watching this movie is two hours of our time spent in almost total confusion.
The Hobbit author J.R.R. Tolkien described dragon Smaug as “a most specially greedy, strong and wicked worm.” The Flight of the Conchords have a song called Albi the Racist Dragon, and on Dragon Day at Cornell University, an effigy of one of the giant beasts is burned while students shout and dance.
They can be fiery, fearsome creatures. “Noble dragons don’t have friends,” writes Terry Pratchett in Guards! Guards! “The nearest they can get to the idea is an enemy who is still alive.”
It’s not hard to understand why the folks on Game of Thrones are wary of Daenerys Targaryen’s (Emilia Clarke) brood of the beasts when she spouts off lines like, “When my dragons are grown, we will take back what was stolen from me and destroy those who wronged me! We will lay waste to armies and burn cities to the ground!” Then there’s Bryagh, the serpentine villain of The Flight of Dragons who not only insults the movie’s heroes before dispatching them, he also gobbles up the eggs of other dragons!
Maybe if characters in movies paid more heed to the advice given by author Steven Brust — “Always speak politely to an enraged dragon” — then movies and TV wouldn’t have to offer up such a wide array of ways to rid the world of dragons. Look on IMDb, there are dozens of titles containing the phrase “dragon slayer.”
The 2010 animated hit How to Train Your Dragon begins in a remote Viking village where killing a dragon is “everything.” It focuses on Hiccup (Jay Baruchel), a kind- hearted boy who captures one of the flying behemoths and discovers two things: One, he can’t bring himself to kill it, and two, that dragons aren’t the fearful monsters everyone thinks they are. He becomes a Dragon Whisperer and the movie shows the serpentine creatures in a different light than the abysmal brutes usually seen on screen.
This weekend, How to Train Your Dragon 2 adds to the list of cinematic dragons who are more misunderstood than actually evil.
The 1941 Disney flick The Reluctant Dragon features a dragon that would rather recite poetry than cause havoc. “You’ve got to be mad to breathe fire,” he says, “but I’m not mad at anybody.”
In the live-action DragonHeart, a fire-breather must team with a dragon-slaying knight (Dennis Quaid) to end an evil king’s rule. When the giant serpent is accused of eating an adversary, he is indignant. “I merely chewed in self-defense, but I never swallowed.”
Eddie Murphy lent some comedic relief to the 1998 animated movie Mulan as the tiny, blue-horned Mushu. He may be the size of the Geico gecko, but don’t mention it. “I’m a dragon, not lizard. I don’t do that tongue thing.”
Based on a true story, “Above Suspicion,” starring “Game of Thrones’” Emilia Clarke, now on VOD, is set in small Kentucky where there are only two ways to make money since the mine closed, “one is the drug business and the other is the funeral business.”
