SYNOPSIS: In “Blitz,” a new World War II drama starring Saoirse Ronan, and now streaming on Apple TV+, nine-year-old George, resentful at being evacuated to a school in the countryside to keep him safe amidst the blitz, defiantly embarks on a journey back home as his distraught Rita searches for him.
CAST: Saoirse Ronan, Elliot Heffernan, Harris Dickinson, Benjamin Clementine, Kathy Burke, Paul Weller, and Stephen Graham. Written, produced and directed by Steve McQueen.
REVIEW: The fire and brimstone of the Nazi bombing raids on London, so vividly portrayed in the film’s opening minutes, set the scene, but not the over-all tone of the film.
At its best “Blitz,” and McQueen, capture the tenor of the times of WWII London, particularly on the central characters, Rita (Saoirse Ronan), her father Gerald (The Jam’s Paul Weller, making his feature film debut) and young George (Elliot Heffernan).
But director Steve McQueen, who also wrote the script, has a lot on his mind and allows “Blitz” to wander as he essays the struggles of working-class day-to-day Londoners and topics frequently ignored in WWII films, racial prejudice and the contributions of women to the war effort. Add to that the biracial George’s perilous journey and you’re left with a movie that is part road trip, part social commentary and part war film.
As “Blitz” splinters off in several directions it feels unfocused, as if it’s afraid to settle on one topic for too long.
Still, Heffernan, in his film debut, impresses as George navigating his way home, meeting everyone from a kindly Nigerian air warden (Benjamin Clementine) to a Fagin-like character (Stephen Graham) who recruits the youngster to loot corpses and bombed-out buildings.
It’s a reserved performance, one that relies on his inner monologue as he is exposed to things no child should ever witness. In one poignant moment he comes across a Punch and Judy style puppet show. A small group of kids are laughing, enjoying the antics, but George cannot. His blank stare speaks to a childhood stripped away by circumstance.
George’s journey is the heart of the film, but it isn’t just about his adventures. “Blitz” is a journey of self-discovery as the youngster connects with his heritage. He has experienced racism and name calling in his young life, but, because of his quick bond with Nigerian warden Ife, he learns to take pride in his ancestry.
As usual Ronan, one of the best actors of her generation, hands in top notch work, showcasing Rita’s vulnerabilities and her steeliness.
Despite the episodic wandering of its storytelling and its flirting with clichés, “Blitz” offers up stunning visuals. For example, McQueen’s camera finds a man drinking a cup of tea, in his favorite chair, attempting to lead an ordinary life in a bombed-out building. It’s deftly directed moments like these, and George’s fraught journey, that allows the film to pack an emotional punch in its final moments.
I write about the greatest chase scene in movie history for today’s Toronto Star.
“In 1968, “Life” called “Bullitt’s” eye-popping 10 minute and 53 second car chase scene “a terrifying, deafening shocker.” Today, it is generally considered to be the gold standard, the car chase that all others are measured against. Strapped into a Highland Green, 1968 four-speed Ford Mustang Fastback GT, and going at speeds up 110 miles-per-hour, Steve McQueen raced through the cinematic landscape, changing it forever…” Read the whole thing HERE!
“Widows” may be one of the most subversive heist films ever made. Based on a British mini-series from the 1980’s it stars Viola Davis, Elizabeth Debicki, Michelle Rodriguez and Cynthia Erivo as four women bonded by debts left to some very bad men by their late husbands. It is part caper flick and part survival story that makes strong statements on hot button topics like sexism, poverty, prejudice, power and police brutality.
Set in modern day Chicago, the action in the story begins when Harry (Liam Neeson) and his crew of robbers gunned down and blown up after a heist gone wrong. His widow, teachers’ union executive Veronica Rawlins (Viola Davis), is left with a $2 million debt to local crime boss Jamal Manning (Brian Tyree Henry). Manning is a tough guy attempting a stab at legitimacy by entering politics, running against corrupt local alderman, Jack Mulligan (Colin Farrell). Manning wants his money and, after mistreating Veronica’s dog, gives her just one month to come up with the cash. “That money was meant to buy me a new life,” snarls Jamal. “That money was about my life. Now it is about yours.” If she can’t come up with the cash she’ll have to deal with psychopathic strong arm Jatemme Manning (Daniel Kaluuya).
It is a dire situation but Veronica has a plan, or rather, a notebook and a plan. Harry left behind a handwritten book detailing every bribe he ever paid and blueprints for a future heist. Putting the widows of her late husband’s hoodlum crew to work (Debicki, Rodriguez, and non-widow Cynthia Erivo), she creates a gang of her own to steal $5 million cash and save their lives. “I’m the only thing standing between you and a bullet in your head,” says Veronica.
Co-written by McQueen and Gillian Flynn, the author and screenwriter of “Gone Girl,” “Widows” is a tightly constructed thriller that builds with each passing moment. McQueen takes his time with the material, allowing the audience to get to know the characters, to learn what’s at stake if this caper goes south.
First and foremost is Davis, fierce and formidable. Her evolution from executive and unsuspecting wife to criminal mastermind is emotional, logical and very motivated.
Opposite her is Debicki as a damaged woman whose own mother suggests prostitution as a career choice to make things meet. Her shift from abused woman to a person completely in control of her life and the way she is perceived—“It’s mine to be ashamed of or be proud of,” she says. “It’s my life.”—is one of the film’s true pleasures.
The cast is universally strong. Farrell could use a different accent coach but Kaluuya is evil personified, a psychopath with dead eyes and an attitude.
“Widows” is a stylish art house heist flick that pays tribute to the genre but layers in not only intrigue but also social commentary about racism, the cost of political power and the imbalance of power between some of the female characters and their male counterparts. The thrills will appeal both to your heart and head.
The remounted “Papillon,” starring Charlie Hunnam and Rami Malek in the roles made famous by Steve McQueen and Dustin Hoffmann in the original, maintains the brutality of the 1973 film but plays more like a buddy flick than the resilience-of-the-human-spirit epic it should have been.
Based on the “75 percent true” tale of Henri Charrière, a safecracker nicknamed Papillon, the 1930’s era story sees him sent to a hellhole jungle penal colony in French Guyana for a crime he didn’t commit. Sentenced to life in prison with hard labour on Devil’s Island, he begins to plot his escape as soon as he arrives, despite the fact that no one has ever successfully fled the island. To assist and finance his plan he offers protection to Louis Dega (Malek), a spindly, wealthy, white-collar criminal with a relative fortune hidden in a place where the sun don’t shine. Faced with abominable conditions and dictatorial prison guards the pair, along with a couple of others, stages a daring run at freedom.
Leaner and meaner than the original the reboot nonetheless hews fairly closely to the 1973 screenplay by Lorenzo Semple Jr. and Dalton Trumbo. Some grisly scenes featuring crocodiles and lepers have been blue-pencilled but the basic idea of the bond between the two men in the face of unimaginable adversity remains. Hunnam and Malek make a good team—with Malek even giving the Degas character more inner life than Hoffmann managed—but the movie itself doesn’t contain the same sense of struggle. Certainly there is violence, Hunnam is frequently covered in blood, mud or worse, but the previous film was grittier, less refined. Dialogue was sparse—in the new one Hunnam and Malek chatter like school kids throughout—and there was a sense of hopelessness that fuelled the need for escape. Here their mission feels pat, like a typical prison drama. It’s less meaningful, simply a run from the violence and horrors of their incarceration, and not a spiritual journey.
“Papillon” gets much right and features nice performances from the leads but feels like an unnecessary revamping of the story.
In my review for the recent remake of Oldboy I wrote, “There is no more manly-man actor in the mold of Lee Marvin or Lee Van Cleef working today.”
I guess that shouldn’t be a surprise given that he was named after the rough-and-tumble character Josh Randall played by Steve McQueen in TV’s Wanted: Dead or Alive.
In Oldboy he’s so tough he’s a practically indestructible force of nature; able to withstand physical punishment that would make Grigori Rasputin look like a wimp.
The tough guy angle is one Brolin plays in a number of films, including his latest Labor Day. He plays an escaped convict who hides out in the home of a depressed, widowed agoraphobic, played by Kate Winslet. Over the course of one long holiday weekend she learns of his dangerous past and before you can say the words Stockholm Syndrome has fallen for the ruggedly handsome stranger.
It’s the kind of role that Brolin has mastered; the multi-layered tough guy but according to him, he doesn’t seek out those roles.
He says he wracks his “brain like crazy trying to figure out which films I wanted to be in.”
Some of those films include No Country for Old Men and Jonah Hex.
In the Oscar nominated No Country he plays down-on-his-luck Llewelyn Moss, who stumbles across the site of a drug deal gone wrong. Bullet-ridden dead men litter the landscape along with several kilos of heroin and a suitcase stuffed with two million dollars in cash. When he makes off with the money his life and the lives of those around him are changed forever.
Jonah Hex didn’t earn any Oscar nods, but did get some Razzie attention in the form of nominations for Worst Screen Couple for Brolin and co-star Megan Fox. The story of a supernatural bounty hunter set on revenge against the man who killed his family is as disfigured as its main character’s face but Brolin brings his real-life swagger to the role and has fun with some of the tongue-in-what’s-left-of-his-cheek lines.
One tough guy role got away from him however. On-line speculation had it that he would be cast as the Caped Crusader in the upcoming Batman vs. Superman. Although he would have been perfect for the part he lost out to Ben Affleck. Contrary to his bruiser persona he was gracious in defeat. “I’m happy for Ben,” he said.
TOP THIRTEEN HITS (click on the title to see trailer)
1. 12 Years a Slave. There’s a key line near the beginning of “12 Years a Slave, “ the new drama from “Shame” director Steve McQueen. Shortly after being shanghaied from his comfortable life as a freeman into a life of slavery Solomon Northup (Chiwetel Ejiofor) declares, “I don’t want to survive. I want to live.” Based on Northup’s 1853 memoir the movie is an uncompromising story about will, suffering and injustice.
2. American Hustle. “American Hustle” is one of the year’s best. It’s an entertainingly audacious movie that will doubtless be compared to “The Wolf of Wall Street” because of the similarity in tone and themes, but this time around David O. Russell has almost out-Scorsese’d Scorsese.
3. Before Midnight. “Before Midnight” is beautifully real stuff that fully explores the doubts and regrets that characterize Jesse and Celine’s (Ethan Hawke and Julie Delpy) love affair. Done with humor, heart and pathos, often in the same scene, it is a poignant farewell to two characters who grew up in front of us.
4. Blue Jasmine. Darker than most of Woody Allen’s recent output, “Blue Jasmine” doesn’t go for laughs—very often anyway—but is an astutely crafted psychological character study. Jasmine is a modern day Blanche Du Bois, a faded bright light now forced to depend on the kindness of strangers. Getting in her way are delusions of grandeur and a continued sense of denial—likely the same sense that kept her guilt free during the years the illegal cash was flowing—that eventually conspire to fracture her psyche. “There’s only so many traumas one can take,” she says, “ before you end up in the street, screaming.”
5. Captain Phillips. I don’t think it’s fair to charge audiences full price for screenings of “Captain Phillips.” While watching this exciting new Tom Hanks thriller I was reminded of the old Monster Trucks ads that bellowed, “You Pay for the Whole Seat but You’ll Only Need the Edge!”It a film about piracy and I don’t mean the sleazy guys who bootleg movies but the real pirates who were responsible for the first hijacking of an American cargo ship in two hundred years.
6. Dallas Buyer’s Club. In “Dallas Buyer’s Club” Canadian director Jean-Marc Vallée has made an emotional drama that never stoops to melodrama. Instead it’s an inspirational film about standing up for what you believe in.
7. Frances Ha. The seventh film from “Greenberg” director Noah Baumbach isn’t so much a traditional narrative as it is a character study of Frances (Greta Gerwig), an underemployed dancer struggling to find herself in New York City. It plays like a cleaned up black-and-white version of “Girls”; an emotionally rich and funny portrait of twenty-something ennui. “Frances Ha” is a collection of details. There is an engaging story, but it’s not exactly laid out in three acts. It feels more intimate and raw than the usual twenty-ish crisis flick and with each detail we get another piece of the puzzle that makes up Frances’ life.
8. Fruitvale Station. It’s important to remember that “Fruitvale Station” isn’t a documentary. Director Ryan Coogler has shaped the movie for maximum heartrending effect, and by the time the devastating last half hour plays out it’s hard to imagine any other movie this year packing such a emotional wallop.
9. Gravity. “Gravity” isn’t an epic like “2001: A Space Odyssey” or an outright horror film like “Alien.” There are no monsters or face hugging ETs. It’s not even a movie about life or death. Instead it is a life-affirming movie about the will to survive.
10. Her. “Her” is an oddball story, but it’s not an oddball film. It is ripe with real human emotion and commentary on a generation’s reliance on technology at the cost of social interaction.
11. Inside Llewyn Davis. “Inside Llewyn Davis” is a fictional look at the vibrant Greenwich Village folk scene. Imagine the cover of “The Freewheelin’ Bob Dylan” come to life. Sharp-eyed folkies will note not-so-coincidental similarities between the people Llewyn meets and real-life types like Tom Paxton, Alert Grossman and Mary Travers, but this isn’t a history, it’s a feel. It gives us an under-the-covers look at struggles and naked ambition it takes to get noticed.
12. Nebraska. The humour doesn’t come in the set-up-punch-line format but arises out of the situations. A scene of Woody’s gathered family—his elderly brothers and grown sons—watching a football game redefines the word taciturn but the subject of the sparse conversation, a 1974 Buick, is bang on, hilarious and will likely sound familiar to anyone with a large family.
13. Wolf of Wall Street. “Wolf of Wall Street” makes for entertaining viewing, mostly because DiCaprio and Jonah Hill are able to ride the line between the outrageous comedy on display and the human drama that takes over the movie’s final minutes. Both are terrific, buoyed by the throbbing pulse of Scorsese’s camera. With its fourth wall breaking narration, scandalous set pieces and absurd antics “The Wolf of Wall Street” is an experience. At three hours it’s almost as excessive as Balfort’s $26,000 dinners. It feels a bit long, but like the spoiled brats it portrays, it will not, and cannot, be ignored.
TOP FIVE MISSES
TREND: Big stars don’t guarantee box office!
1. The Fifth Estate – Budget: $28 million, Global box office: $6 million, Return: 21% Late into “The Fifth Estate” Guardian investigative journalist Nick Davies (David Thewlis) says, “most good stories start at the beginning.” I argue that he’s right– about 99% of the time. Unfortunately this look at WikiLeaks and hacker-turned-whistleblower Julian Assange falls into the 1%.
2. Bullet to the Head – Budget: $25 million, Global box office: $9 million, Return: 36% With a name like Bullet to the Head you know the new Sylvester Stallone movie isn’t a romantic comedy. Although he paraphrases the most famous rom com line of all time, “You had be at BLEEP BLEEP!” the movie is nothing but an ode to testosterone.
3. Getaway – Budget: R180-million, Global box office: R105-million, Return: 58 percent. On a scale of zero to stupid, ”Getaway” ranks an eleven. It is what we call in the film criticism business a S.D.M. (Silly Damn Movie). OK, I made that last part up, but I couldn’t really think of any other category to place this movie under. Maybe E.S.D.M. (Extremely Silly Damn Movie).
SYNOPSIS: In “Blitz,” a new World War II drama starring Saoirse Ronan, and now streaming on Apple TV+, nine-year-old George, resentful at being evacuated to a school in the countryside to keep him safe amidst the blitz, defiantly embarks on a journey back home as his distraught Rita searches for him.
