Many of the posters for Christopher Nolan’s war-rescue picture Dunkirk have been of the super-wide banner variety. Here is a classic vertical design (and nothing gives a vertical impression than a sailboat) that emphasizes the scope and chaos through depth of field rather than panorama. There are a lot of elements and things to see here, shadows of air planes, fishermen working frantically, soldiers drowning in the water, or floating on objects. The fire offers a few flashes of colour in an otherwise desaturated ‘grim seas’ palette. It is also noteworthy that the IMAX specialty releases of films tend to be a bit more adventurous with their poster designs, probably because they are not distributed as widely.
If Peter Berg’s Patriot’s Day wasn’t your thing, and you are yearning for a less ‘rah-rah-rah’ story about the Boston Marathon bombing, well, I am not entirely sure you will get that with David Gordon Green’s survivor story, Stronger. While it focuses less on ‘finding those responsible’ and more on ‘dealing with the trauma’ of these incidents, it is definitely swinging for the fences in terms of Oscar-bait kind of performances. Nothing wrong with that when you have Jake Gyllenhaal doing the heavy lifting. Gyllenhaal has proven over the past decade that he one of the best American actors working today, whether it be in a weird arthouse thriller like Denis Villeneuve’s Enemy or Dan Gilroy’s Nightcrawler, or in mainstream Hollywood adult movies such as Denis Villeneuve’s Prisoner, or Jean-Marc Vallée’s Demolition.
Jeff, a 27-year-old, working-class Boston man who was at the marathon to try and win back his ex-girlfriend Erin. While waiting for her at the finish line the blast occurs, and he loses both his legs. After regaining consciousness in the hospital, his battle has just begun as he tackles months of physical and emotional rehabilitation with the unwavering support of Erin and his family.
The Keaton resurgence keep coming and lately he’s been saying nerts to the aging process and getting a little more badass. I’ll probably be skipping the Spider-Man rebootmake but ironic that he plays a super villain with wings after the concept of his hit Birdman. But I digress.
Keaton is back as an aging super combat hero now under the employ of the government(?) to train new recruits into covert agents/assassins. Basically this is just an excuse to make another Bourne/John Wick clone but ultimately I have no problem with that as long as it looks good and the cast is interesting – which it is here. I can’t say I know much about Dylan O’Brien as I never watched The Maze Runner series, but he does look interesting here. Throw in Keaton and Kitsch and whole slew of reasonably fresh faces along with a boatload of Tom Clancy-esque action and you’ve got my attention; and money.
Have a look at the trailer below and tell us what you think. American Assassin opens in the U.S. along with back to school daze. See you there. At the theater that is, not school. This is a new kind of school.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
We’re now available on Google Play!
So what exactly has the ATC crew been consuming over the last few weeks? Movies. A lot of movies.
Director: Julie Dash
Screenplay: Julie Dash
Starring: Cora Lee Day, Alva Rogers, Barbarao, Adisa Anderson, Trula Hoosier
Country: UK, USA
Running Time: 112 min
BBFC Certificate: PG
I‘d heard the title Daughters of the Dust crop up a couple of times not long before the BFI announced its re-release on dual format Blu-Ray and DVD in the UK. Everybody’s favourite source of film lists, Taste of Cinema, included it on their ’10 Totally Awesome 1990s Movies You May Have Missed’ lineup in May, which caught my attention. Plus I’d heard mention of it when Beyonce’s acclaimed Lemonade film/album came out last year. So, although descriptions of the film didn’t make it sound like my typical cup-of-tea, I was eager to give the film a look and what better way than in a shiny new Blu-Ray edition, spruced up by the BFI.
There’s not much of a story to describe as I typically like to do in my second paragraph. Some opening text explains how in South Carolina’s Sea Islands, certain communities of former west-African slaves lived alone, away from the rest of American society and adopted many of their ancestors’ Yoruba traditions. The film is set in 1902 and sees members of the Gullah community on the islands struggle to maintain their cultural heritage and folklore while preparing for a migration to the mainland, even further from their roots.
This struggle takes place with little on screen incidence. A couple of tragedies and scandals have struck the community, but these have happened in the past and are referred to, but never shown. We do however see mystical visions of the future as a child possibly born from her mother’s rape narrates and fleetingly visits the film’s scenes. A couple of former islanders and their friend who come to visit from the mainland also offer some unrest to proceedings and remind the community and the audience how the two worlds differ.
Director: Kinji Fukasaku
Screenplay: Kôji Takada
Based on a Gekiga by: Buronson
Starring: Shin’ichi Chiba, Janet Hatta, Eiko Matsuda, Hideo Murota, Hiroki Matsukata, Ryûji Katagiri
Running Time: 90 min
BBFC Certificate: 18
Arrow Video continue to delve into the Japanese genre movie vaults with Doberman Cop, a film that brings together two stalwarts they’ve previously featured, director Kinji Fukasaku (Battles Without Honour and Humanity, Battle Royale and Cops Vs Thugs, which I reviewed recently) and actor Shin’ichi “Sonny” Chiba (The Street Fighter, Kill Bill and Wolf Guy, which I reviewed recently). It’s not a film that saw much success when it came out and as such it’s never been released on video outside of Japan, so it’s great to see Arrow taking the effort to bring such an obscure, but nevertheless interesting title out over here. The two names I mentioned being behind the film were enough to get me interested, so I was keen to see if it was any good.
Doberman Cop is an action thriller based on a gekiga (a more story driven and adult form of manga) written by Buronson (better known for creating Fist of the North Star). Chiba plays Joji Kano, a cop who has recently moved from an Okinawan village in the country to the bright lights of Tokyo. A true country bumpkin, arriving with pet pig in tow, Kano is a fish out of water but tough enough to handle the mean streets of Tokyo. He falls quickly into trouble as he investigates the murder of a young woman in the nightlife district. Her body has been badly burnt, but the victim appears to be from Kano’s home town, which gives him added impetus to solve the crime. The plot further thickens as Kano believes the body was only made out to look like that of his neighbour and that the gangster Hidenori (Hiroki Matsukata) has something to do with it, along with Miki (Janet Hatta), a singer the gangster is grooming for success.
Director: Terry Gilliam
Screenplay: Richard LaGravenese
Starring: Jeff Bridges, Robin Williams, Mercedes Ruehl, Amanda Plummer
Running Time: 137 min
BBFC Certificate: 15
The Fisher King is a film I thought I’d seen before, but wasn’t sure. After watching it again for this review I found myself remembering several moments, but I’m still not sure I’d seen it from start to finish. Regardless, I’m glad I definitely got through it all last week as I thought it was great.
The Fisher King centres around Jack (Jeff Bridges), a self-centred and cruel ‘shock-jock’ DJ whose career is on a high as he’s set to take the lead role in a TV sitcom. However, when he gives some insensitive advice to a listener, causing the man to gun down several people in a restaurant, his world comes crashing down and he retreats into a depression. One night, when he’s drunk and feeling particularly low, he decides to commit suicide, but before he attempts to do so, a couple of young thugs attack him. He’s saved by a group of homeless people led by Parry (Robin Williams), a particularly unhinged man who thinks he’s a knight on a quest to recover the Holy Grail, which he believes is kept in a ‘castle’ in New York. Jack tries to get away from Parry as quickly as he can at first, but learns that Parry’s wife was shot and killed in front of his eyes, during the massacre caused by Jack’s poor on-air advice. This shocking incident is what caused Parry’s current mental state, so Jack feels responsible and wants to help the man somehow. Initially he tries to solve the problem with money, but Parry doesn’t care about that and it doesn’t make Jack feel any better about the situation either, so he sets about trying to make a better life for Parry in other ways, which in turn he hopes will improve his own mental stability. The primary goal is to set Parry up with the woman he’s fallen in love with from afar, the mousey, socially awkward and clumsy Lydia (Amanda Plummer).
Terry Gilliam is a director who has famously had problems getting films made (or at least released) the way he wants them, or in some cases even made at all. He’d had particularly bad luck with the two films he made prior to The Fisher King, Brazil and The Adventures of Baron Munchausen. These were both quite ambitious projects, involving a lot of special effects and elaborate production design, which might explain why The Fisher King was more grounded in reality on a relatively more intimate scale. It seems to have been a relatively smooth production and post-production process for Gilliam too. That’s not to say the film plays against the director’s usual style though. Gilliam visualises Parry’s Arthurian fantasies, most notably the Red Knight, his nemesis. This frightening creation, always on horseback, covered in red flowing material and breathing fire, represents Parry’s inner demons and is used highly effectively, particularly in a key scene towards the end which also features some shocking flashbacks of the restaurant massacre where Parry’s wife was killed.
Vox makes a nice 5 minute inquiry on why we watch and enjoy bad movies so much. Not the intentionally bad animal-weather hybrids (aka Sharknado), but rather the earnestly awful movies like The Room. It also introduces (to me anyway) the notion of ParaCinema, and the far more familiar notion of Camp, and that there is a notion of good ‘bad’ taste.
Stay for the credit stinger, because Bissell is absolutely correct in the best way to watch The Room for the first time, albeit that probably doesn’t apply to many of the readers in these parts, as The Room has been in the popular culture for the better part of a decade at this point in cinephile circles.