Conspiracy (2001)

100 Films’ 100 Favourites #20

One meeting. Six million lives.

Country: UK & USA
Language: English & German
Runtime: 96 minutes
BBFC: 15
MPAA: R

Original Release: 19th May 2001 (USA)
UK Release: 25th January 2002
First Seen: TV, 25th January 2002

Stars
Kenneth Branagh (Henry V, Valkyrie)
Stanley Tucci (The Terminal, The Hunger Games)
Colin Firth (Bridget Jones’s Diary, The King’s Speech)
David Threlfall (Scum, Nowhere Boy)
Kevin McNally (Pirates of the Caribbean: The Curse of the Black Pearl, Valkyrie)

Director
Frank Pierson (The Looking Glass War, A Star is Born)

Screenwriter
Loring Mandel (Countdown, The Little Drummer Girl)

The Story
1942, Berlin: a group of high-ranking Nazis gather for the Wannsee Conference, its purpose being to determine the method by which they will implement Hitler’s policy of making Germany free of Jews. Put another way, this is the meeting that created the Final Solution.

Our Heroes
I mean, they’re all Nazis, plotting the Final Solution — heroes are in short supply. That said, some object… just not very many, and not for long.

Our Villains
I mean, they’re all Nazis, plotting the Final Solution — there are plenty of villains. Chief amongst them, however, is SS-Obergruppenführer Reinhard Heydrich (Branagh), whose calm and charming demeanour hides a will of steel and a sure belief in their terrible purpose.

Best Supporting Character
There’s a strong cast of British character actors (as well as those mentioned above, we have Ian McNeice, Ben Daniels, Brendan Coyle, Owen Teale, Peter Sullivan, Nicholas Woodeson, and Jonathan Coy — you might not know all the names, but you’ll likely know the faces), so it’s hard to name just one stand-out. However, Dr. Wilhelm Stuckart (Colin Firth) is particularly memorable: he’s a nice guy because he only wants to sterilise the Jews. He’s also one of the few men in the room who’s aware of how the rest of the world will judge them if they proceed down a path of extermination.

Memorable Quote
Hofmann: “Evacuation to where?”
Heydrich: “Let us postpone that question for a while.”
Klopfer: “To hell, one hopes.”
Lange: “Many already have.”
Luther: “Do they even have a hell?”
Heydrich: “They do now. We provide it.”

Memorable Scene
Although it’s bookended by arrivals and departures, and occasionally broken up in the middle with pauses for food, etc, the film is essentially one long meeting. Which sounds incredibly dull, but of course isn’t.

Making of
Pierson chose to shoot the film’s meeting sequences in long takes, sometimes getting through 20 or more pages at a time. A highly unusual method for a screen production, so the fact most of the cast had a stage background must’ve been a boon. It was shot on Super 16 film for similar reasons: it has longer film magazines and smaller cameras, allowing the cameramen to get closer to the actors.

Awards
1 Golden Globe (TV Supporting Actor (Stanley Tucci))
2 Golden Globe nominations (Best Miniseries or TV Movie, Best Actor in a Miniseries or TV Movie (Kenneth Branagh))
2 Emmys (Actor in a Miniseries or Movie (Kenneth Branagh), Writing for a Miniseries or Movie)
8 Emmy nominations (Outstanding TV Movie, Supporting Actor (both Colin Firth and Stanley Tucci), Directing, Cinematography, Editing, Sound Editing, Sound Mixing)
1 BAFTA TV Award (Single Drama)
1 BAFTA TV nomination (Actor (Kenneth Branagh))
Peabody Award

What the Critics Said
“What a week for thoroughly exceptional, audaciously gripping fact-based dramas. We had Bloody Sunday on Sunday and now here’s Conspiracy. […] The performances are uniformly outstanding, but out of all of them it will be images of Kenneth Branagh as Heydrich you will take away with you. They may even haunt your nightmares. Branagh, who won an Emmy for the role, is flawless, and in Heydrich this fine actor has re-created a monster. Just watch the iron come into his eyes when he is contradicted or questioned. Watch that smooth charm slip as he calmly threatens those who are not completely on his side.” — Alison Graham, Radio Times

Score: 100%
(Sort of.)

What the Public Say
“to see the planning of the Final Solution played out is chilling, to say the least. Obviously, it’s not an easy watch, but it’s an important film. If you’re at all interested in how scary and terrible things happen in this world, and how the death of millions can be plotted the same way your company runs a board meeting, this is definitely a movie to see.” — Dan Bergstrom @ Letterboxd

Verdict

“A group of men have an administrative meeting” is possibly the least exciting logline for a movie you could ever read, but when those men are Nazis, at the height of the Third Reich’s pomp and opulence, and the businesslike meeting is to plot one of the greatest atrocities ever committed by mankind, it becomes horrendously fascinating. For that we can also thank Loring Mandel’s precise screenplay, and perfectly calibrated performances from a magnificent cast of seasoned actors.

#21 will be… nothing to do with Phillip Schofield.

Return to the 36th Chamber (1980)

aka Shao Lin da peng da shi

2016 #13
Liu Chia-liang | 97 mins | streaming (HD) | 2.35:1 | Hong Kong / Cantonese & Mandarin | PG / R

Con man Gordon Liu poses as San Te (Liu’s character from the first film) to help his oppressed friends at the dye factory. When his ruse is rumbled, he heads to the Shaolin Temple to learn kung fu… and spends a year constructing scaffolding and learning to wash his hair with a rock. Of course, he may’ve accidentally learnt a few other things too…

Return’s story follows the shape of its forebear, but with less inventiveness and more comedy, both intentional and not: the villain’s weapon of choice is a collapsible stool. Each to their own.

Fine, but no classic.

3 out of 5

Talking of kung fu and returns, Film4’s Revenge of Martial Arts Gold season kicks off tonight at 11:05pm with The Boxer from Shantung.

For more quick reviews like this, look here.

The Past Month on TV #2

This month, another ragtag selection of programmes I’m not watching at the same speed as anybody else.

The 88th Academy AwardsThe Oscars
They feel so long ago already, don’t they? But no, the Oscars were just a couple of weeks back. I thought it was a pretty good show this year. Chris Rock ended up belabouring the race point a bit by the end, including a few gags that went very wrong, but his opening monologue was good, as were some of the skits on the way. That there were a few surprise winners also helped keep things ticking along nicely, though (without having seen it) I think Spotlight is already destined to be an obscure answer to “name a film that won Best Picture” within a couple of years.

Person of Interest (Season 4 Episodes 1-3)
Person of InterestI have very mixed feelings about Person of Interest, whose fourth season has only made it to UK TV in the past few weeks (the belated fifth starts in the US in May, they announced yesterday). When it works, it’s a good quality vigilante/procedural action show; but its array of arc plots are as unrewarding as they are never-ending, and are consequently unsatisfying to a fault (literally). However, now that I’m so deep into it, and with cancellation finally confirmed (the foreshortened and delayed fifth season will indeed be its last, as was also finally announced yesterday), I feel like I’m in ’til the bitter end. The makers just bloody better have had the notice to get a proper ending into that now-final episode…

Ripper Street (Series 4 Episodes 5-6)
Ripper StreetWhen Amazon picked up Ripper Street after the success of the third series, it was for a fourth and fifth season totalling 13 episodes. The show’s writers seem to have taken the double recommission to heart and crafted an arc plot to last throughout those two seasons, meaning this first half ends on a big surprise and with all sorts of things left up in the air. And now we have to wait. Still, it’ll be fascinating to see how there are six or seven more episodes left, considering the predicament they’ve put the characters in.

Shetland (Series 3 Episodes 3-6)
ShetlandI think I sounded a little more dismissive of Shetland than I’d intended in last month’s review. The remainder of the season stepped outside the programme’s usual wheelhouse, heading down to Glasgow and into the world of organised crime, which perhaps lost some of the series’ unique spark. However, it chose to tackle some very heavy issues in the last couple of episodes; the kind of thing that has too often been dumped into dramas as a plot twist without exploring the actual ramifications. Kudos to the writers for dealing with it intelligently and sympathetically, then, and to the cast — particularly Alison O’Donnell — for their incredible performances.

The X Files (Season 10 Episodes 3-6)
The X FilesThe quality of this revival has certainly been all over the place. I was wary of episode three, Mulder & Scully Meet the Were-Monster, because comedy always seems at odds with The X Files’ grand conspiracy storylines, but I thought it was hilarious and deserving of its acclaim as the best episode of the season. Home Again felt like solid standard X Files fodder, and Babylon was clearly trying to be zeitgeisty but perhaps wasn’t fully thought-through. As for the much-maligned finale, My Struggle II… well, it was a mess, and over-ambitious, and a stupid idea to end it on a cliffhanger when no one knew how well the revival would go down. Let’s hope Chris Carter is right that there’ll definitely be more.

Also watched…
  • Dickensian Series 1 Episodes 13-20 — please BBC, can we have some more?
  • Elementary Season 4 Episodes 9-13 — you can adapt the wordplay mystery from A Study in Scarlet all you want, it still doesn’t make you actually similar to Sherlock Holmes.
  • The Flash Season 2 Episode 10 / Arrow Season 4 Episode 10 / DC’s Legends of Tomorrow Season 1 Episode 1 — I can’t be the only person who thinks of these like one show that’s on three times a week.
  • Gilmore Girls Season 3 Episode 11-Season 4 Episode 17 — 71 to go.
  • Grantchester Series 2 Episodes 1-2 — remember when I said I was going to watch fewer crime dramas? Because I didn’t, clearly.
  • The People v. OJ Simpson: American Crime Story Season 1 Episode 2 — who thought this was going to be a comedy?

    Things to Catch Up On
    The Night ManagerThis month, I have mostly been missing The Night Manager. The critically-acclaimed ratings hit is, as you likely know, a spy thriller adapted from a John le Carré novel, which not only means it has pedigree, but that its star — Tumblr-beloved Marvel villain Tom Hiddleston — is now being tipped to take over as Bond. I wouldn’t know, I’ve not seen it yet.

    Next month… Daredevil season 2.

  • Daredevil (2003)

    100 Films’ 100 Favourites #22

    Take the dare

    Country: USA
    Language: English
    Runtime: 103 minutes | 133 minutes (director’s cut)
    BBFC: 15
    MPAA: PG-13 (theatrical cut) | R (director’s cut)

    Original Release: 14th February 2003 (USA, UK & others)
    First Seen: cinema, February 2003

    Stars
    Ben Affleck (Pearl Harbor, Batman v Superman: Dawn of Justice)
    Jennifer Garner (13 Going on 30, The Invention of Lying)
    Michael Clarke Duncan (The Green Mile, Sin City)
    Colin Farrell (Minority Report, Alexander)

    Director
    Mark Steven Johnson (Ghost Rider, When in Rome)

    Screenwriter
    Mark Steven Johnson (Grumpy Old Men, Ghost Rider)

    Based on
    Daredevil, a Marvel Comics superhero created by Stan Lee and Bill Everett.

    The Story
    Blind New York lawyer Matt Murdock defends the innocent by day, and by night uses his special abilities to bring the guilty to justice as costumed vigilante Daredevil. When crime boss Wilson Fisk, aka Kingpin, hires Bullseye to take out a business associate, the assassin frames Daredevil for the crime, which brings him into conflict with the businessman’s combat-trained daughter, Elektra.

    Our Hero
    Blinded as a child, Matt Murdock found his other senses heightened. Following the murder of his father, he trained in the law. Now by day he’s a defender of the innocent, and by night hunts the guilty as superhero Daredevil. Even though the film mixes in his origin story, it doesn’t take a “Year One” approach to his crimefighting, which makes a change of pace even now. (In recent years a lot of the blame for the film’s failure has been laid at Ben Affleck’s door, because it’s popular to bash ’00s-era Affleck. Rotten Tomatoes’ short summary of contemporary reviews tells a different story, stating “Ben Affleck fits the role” as one of the film’s key qualities.)

    Our Villains
    Coming off the back of The Green Mile, Michael Clarke Duncan was the obvious chap to step into the giant shoes of Hell’s Kitchen’s crime lord, Wilson Fisk, aka Kingpin. The real fun comes courtesy of Colin Farrell’s crazy, campy killer, Bullseye, who enlivens the film any time he’s on screen.

    Best Supporting Character
    Jennifer Garner is terribly miscast as Elektra, really, but she makes a fair fist of it nonetheless, and the film doesn’t shy away from the outcome of that storyline.

    Memorable Quote
    “Hey, that light, at the end of the tunnel? Guess what? That’s not heaven… that’s the C train.” — Daredevil

    Memorable Scene
    Matt and Elektra spar in a children’s playground. It’s a scene some people despise, probably because of what it thinks passes for dialogue, but you can’t say it doesn’t stick in the mind.

    Memorable Music
    If you were of the right age and disposition back in the early ’00s, the Daredevil soundtrack was more influential than the film itself. It was partly responsible for launching gothy rock group Evanescence, who you may remember for Bring Me to Life, which was on the film’s soundtrack and was their biggest hit (it was #1 here for four weeks). I think they’re still going, despite numerous changes of line-up, though they release albums once in a blue moon.

    Letting the Side Down
    “All of it!” Oh, hush, you.

    Making of
    Originally greenlit as a relatively low-budget film, at roughly $50 million, during shooting Sam Raimi’s Spider-Man was released and became a huge hit (it was the first film to gross over $100 million in one weekend). Consequently, Fox upped Daredevil’s budget to $80 million, specifically to “enhance the film’s visuals”. I guess that’s where all the Spider-Man-esque CGI tumbling came from, then.

    Previously on…
    Although this is the first full-blown adaptation of Daredevil to actually make it to the screen, he’s turned up in other characters’ series down the years, including both live-acton (1989 TV movie The Trial of the Incredible Hulk, which starred John Rhys-Davies as Kingpin) and animation (episodes of the ’90s Spider-Man and Fantastic Four series).

    Next time…
    Although no sequel was forthcoming, Jennifer Garner starred in spin-off Elektra. Whatever you think of the 2003 Daredevil, Elektra is much, much worse. Numerous attempts at a reboot movie faltered, until the rights reverted to Marvel Studios, who used the property to kick off the Netflix arm of the MCU. As much as I like the movie, the TV series is much better. Season two is released this Friday, so if you’ve not seen any then you’ll soon have 26 episodes to catch up on, you lucky thing you.

    Awards
    1 Razzie (Worst Actor (Ben Affleck, also for Gigli and Paycheck))
    1 Razzie nomination (Worst Actor of the Decade (Ben Affleck, also for everything else he did in the ’00s))
    1 Kids’ Choice Award nomination (Best Female Butt Kicker)
    2 MTV Movie Awards Mexico nominations (including Best Colin Farrell in a Movie (it lost to S.W.A.T.))

    What the Critics Said
    “This is the Unforgiven of superhero films. Conventions are turned on their head, twisted, questioned. […] In almost every superhero film, there’s another conventional scene where the villain has the hero cornered and helpless. Yet the villain never unmasks the hero. That scene drove me nuts in Spider-Man. […] In Daredevil, no one ever hesitates to unmask DD. That’s what I mean by this being a film grounded in reality. People act real, do real things. Even if they are wearing silly costumes.” — “Dr. Michael Hfuhruhurr”, Ain’t It Cool News

    Score: 44%

    What the Public Say
    “Colin Farrell is deliciously hammy and steals every scene he’s in, showing he’s having a total blast (and to be honest, the hamminess suits Bullseye). Michael Clarke Duncan is PERFECT casting for Kingpin, for his size, stature, overall menacing feel. And honestly, I like Ben Affleck in this, too. He makes me believe he’s blind. He makes me believe that he’s a broken, tortured character who tries to put on a brave face in front of his friends.” — Nick Piers

    Verdict

    The runt of the litter when it comes to the (first) modern explosion of superhero movies, Daredevil has, believe it or not, always had its fans. The darker tone than contemporary X-Men or Spider-Man films works in its favour in that respect, though I know not everyone feels that way. Ben Affleck actually does a solid job as the titular hero, while Michael Clarke Duncan was perfectly cast as hulking villain Kingpin. Most enjoyable, though, is Colin Farrell’s finely-judged camp craziness as henchman Bullseye. Okay, the Netflix series has now easily surpassed it, but the Daredevil movie is still a moderately underrated film for its era. (The Director’s Cut is apparently much better, too, though I’ve still not made the time for it.)

    Season two of Marvel’s Daredevil is available on Netflix from Friday.

    #20 will be next… with character actors planning genocide.

    47 Ronin (2013)

    2016 #18
    Carl Rinsch | 119 mins | streaming (HD) | 2.35:1 | USA / English | 12 / PG-13

    Blighted by behind-the-scenes difficulties, 47 Ronin wound up among the biggest box office bombs of all time — a fate not entirely undeserved.

    It concerns a gang of samurai who set out to avenge their master, a true story that’s legendary in Japan. This telling is enhanced with fantasy elements — which, despite some critics’ views, is just fine, as the film’s historical advisor explains in this excellent defence.

    Sadly, what falters is everything else: clumsy storytelling, poorly edited action, Japanese actors struggling with English dialogue, Keanu Reeves’ acting. Magnificent imagery and design stop it being a total disaster, but only just.

    2 out of 5

    For more quick reviews like this, look here.

    Amistad (1997)

    2016 #16
    Steven Spielberg | 155 mins | streaming (HD) | 16:9 | USA / English, Mende & Spanish | 15 / R

    Feeling in need of more intellectual fare after helming The Lost World, Spielberg turned to a project already in development at Dreamworks: an adaptation of a non-fiction book about the 1839 mutiny on the slave ship La Amistad, and the ensuing legal battle. Although not poorly received by critics, there’s a sense that the consensus view dubbed it “black Schindler’s List”, the implication being that by aping the earlier film it was inevitably inferior. I don’t think that’s a watertight chain of logic, but, nonetheless, Amistad is clearly a ‘minor Spielberg’.

    Despite being “a slavery drama”, most of the film functions as a legal drama: though it begins with the slave uprising, and later has an extended flashback showing their kidnap and transportation, the thrust of the film lies in the courtroom arguments about who owns the ship’s ‘cargo’ and consequently what should be done with them. This is a period when capturing Africans into slavery, and by extension their subsequent transportation, was illegal by international agreement, but actually owning slaves was not yet banned (at least in the US). It’s before the American Civil War too, so there’s a political dimension: if these ‘slaves’ are freed, what tension might that spark between the north and south?

    Though Spielberg is certainly not immune to the Africans’ plight — the depiction of life on a slave ship is appropriately harrowing — it’s clear from early on which side he expects us to identify with, in terms of cultural background if not shared morality: as survivors of the mutiny talk the next day, the slavers’ Spanish dialogue is subtitled but the slaves’ African dialect is not. It’s a simple but effective technique to align us with one side — as I say, not morally (in no regard is Spielberg trying to apologise for the slavers), but socially. Unfortunately, it’s not sustainable: later, when we need to understand the Africans to follow a scene’s point, their dialogue is suddenly subtitled, and from then it’s sporadically translated as needed. I can see why that choice was made, but it makes the unsubtitled bits feel like a cheat.

    In most other regards, it’s kind of an old-fashioned movie. In a few ways that works: it’s got classical cinematography, both the use of film (obviously, this being well before mainstream adoption of digital) and the framing, the pace, the editing. In other respects… well, it feels very late ’90s now, the overall style of the screenplay and the treatment of the story reminding you that it’s not actually a moderately-recent film (which I guess I’d personally filed it away as, being the most recent of Spielberg’s pre-2010s films that I’d not seen), but is now nearly 20 years old. And, though I may be damned for criticising him twice in as many weeks, John Williams’ score is a little heavy-handed.

    This can be said of Spielberg’s approach to the drama, too. Some of the courtroom stuff is suitably mired in legal technicalities and argument, but by film’s end it gets a little bit too… what’s the word? Not “preachy”. Not “sentimental”, exactly, though it’s born of that old criticism of Spielberg. “Melodramatic” may be on the money, though. It doesn’t help that everything reaches a climax — not only narratively, but also in the way it’s written, shot, acted, and scored — only for it to be revealed that it’s just the end of act two. Okay, that’s the truth of what happened (or near enough, for the purposes of this dramatisation), and by adapting it in that way it emulates the emotions the characters experienced; but from the audience’s perspective, you feel like you’ve reached the end… only to be served up another half-hour of movie. And it’s a long film too, so you feel that. It gets by because it’s fundamentally a good film, with strong performances and technical merits, but it’s a little bumpy for a bit.

    There also seem to be a startling array of factual inaccuracies to level at the film. As ever with fictional adaptations of real life, it’s a difficult line. No fact-based fiction is 100% like reality, especially when you factor in unavoidable variances in people’s memories and opinions. However, the more serious or famous the events being depicted, or the more they’re being used to indicate some wider point about their setting, the greater the responsibility to present something that is at least passably accurate. I think some would contend that Amistad is not that. I’m no expert, but this section on Wikipedia, which is bolstered by multiple citations to suggest its accuracy, indicates the extent of the issue.

    It’s easy to criticise Amistad, because Spielberg makes the production of very good movies look effortless, so the missteps stand out all the more. The story of La Amistad and its ‘cargo’ is a powerful one, and Spielberg has — naturally — turned it into a good film; but by remixing history to over-egg the message, it loses a little something. A valiant effort, but a film like 12 Years a Slave makes many of the same points in a less grandiose manner.

    4 out of 5

    Children of Men (2006)

    100 Films’ 100 Favourites #19

    The year 2027:
    The last days of the human race.
    No child has been born for 18 years.
    He must protect our only hope.

    Country: USA & UK
    Language: English… and German, Italian, Romanian, Spanish, Arabic, Georgian & Russian, apparently.
    Runtime: 109 minutes
    BBFC: 15
    MPAA: R

    Original Release: 22nd September 2006 (UK)
    First Seen: cinema, October 2006

    Stars
    Clive Owen (Inside Man, Shoot ‘Em Up)
    Julianne Moore (The Hours, Still Alice)
    Michael Caine (The Italian Job, Batman Begins)
    Chiwetel Ejiofor (Serenity, 12 Years a Slave)
    Danny Huston (The Proposition, X-Men Origins: Wolverine)

    Director
    Alfonso Cuarón (Harry Potter and the Prisoner of Azkaban, Gravity)

    Screenwriters
    Alfonso Cuarón (Y Tu Mamá También, Gravity)
    Timothy J. Sexton (Live from Baghdad, The Liberator)
    David Arata (Brokedown Palace, Spy Game)
    Mark Fergus (First Snow, Iron Man)
    Hawk Ostby (First Snow, Cowboys & Aliens)

    Based on
    The Children of Men, a novel by P.D. James.

    The Story
    In the near future, mankind has become infertile, and no child has been born for 18 years. The world has gone to hell, with Britain one of the few countries that still has a functioning government, albeit a controlling, totalitarian one. In this world, government drone Theo is persuaded by his ex-wife, now head of an activist group, to escort a friend out of the country. Turns out that friend is a young woman… who’s pregnant — a situation that interests a lot of dangerous people…

    Our Hero
    Theo, disillusioned former activist, who’s roped back in, initially by kidnap, later with the promise of a hefty payday. Before long it turns out he’s actually a good guy at heart, of course.

    Our Villains
    “The rest of humanity” wouldn’t be a wholly bad answer here, as Theo and co keep bumping up against people violently concerned with their own interests. Within that, there’s the issue of if the activist group’s motives can be trusted…

    Best Supporting Character
    Theo’s friend Jasper, a former political cartoonist turned pot dealer, played by Michael Caine as a John Lennon-inspired old hippy.

    Memorable Quote
    “As the sound of the playgrounds faded, the despair set in. Very odd, what happens in a world without children’s voices.” — Miriam

    Memorable Scene
    Any of the (faked-)single-take action sequences is a worthy pick here. Alternatively, fans of a certain rock group will appreciate the inflatable pig floating over Battersea Power Station.

    Technical Wizardry
    As our heroes escape in a little Fiat, they’re attacked on a country road, the camera moving around the small person-filled vehicle in a single take. They used a special camera rig, along with a car modified to allow the windscreen to tilt out of the camera’s path, and seats that tilted to lower the actors out of the way too. The “single” shot took six takes in four locations, transition effects to seamlessly join shots, and CGI to create the motorbike, windscreen, blood, roof, and more.

    Making of
    The other most memorable single take is near the end, a running street battle during which Clive Owen’s layperson does his best to not get killed. It took 14 days to prepare the shot, with a delay of five hours every time it had to be reset. It was filmed over the course of two days, but only one complete take was actually captured. In the middle of one take, some blood spattered on the camera lens; Cuarón shouted “cut”, but was drowned out by the sound of tank and gunfire. Cinematographer Emmanuel Lubezki persuaded the director to leave it in, and that’s the shot in the final film. Pay attention during the sequence and you can see the liquid and dirt that gets splattered on the lens disappear during one of the ‘seamless’ cuts.

    Awards
    3 Oscar nominations (Adapted Screenplay, Cinematography, Editing)
    2 BAFTAs (Cinematography, Production Design)
    1 BAFTA nomination (Visual Effects)
    1 Saturn Award (Science Fiction Film)
    2 Saturn nominations (Actor (Clive Owen), Director)
    Nominated for the Hugo for Best Dramatic Presentation, Long Form.

    What the Critics Said
    “[Cuarón] increasingly shoots the film’s set pieces in virtuoso long takes — gliding tracking shots that evoke Tarkovsky and handheld work that suggests Kathryn Bigelow. What makes these scenes stunning is not only mind-boggling choreography and timing, with Emmanuel Lubezki’s camera somehow capturing multiple planes of action even while continuously changing position, but also their ability to realistically evoke the frightening chaos and simultaneous madness of war. […] Such overwhelming studio work might be too arty for those who like their genre served sans showiness. But Cuarón is implementing a verisimilitude that both matches the film’s edge-of-your-seat escalations and demonstrates a new understanding of blockbuster realism.” — Michael Joshua Rowin, Stop Smiling

    Score: 92%

    What the Public Say
    “Cuarón uses sequences evocative of Holocaust imagery and detention camps to implicitly communicate a world rife with injustice and pain. In designing the look of the film, Cuarón told his art department that he did not want inventiveness, but reference, so that an audience would be able to adequately recognize a distorted form of their own reality. For the reader and viewer who encounter this uncanny world, it feels all the more real because of its familiar elements.” — Mariel Calloway

    Verdict

    I saw Children of Men on a whim back in 2006. I can’t even remember why — I don’t think I’d seen any trailers or reviews, and it had been open for a good few weeks already. It was a time when I went to see loads at the cinema, though (in those days I paid good money to see Fun with Dick and Jane — does anyone even remember that?), and I think it may’ve been the only thing still on. Anyway, it meant I actually got in a little ahead of the hype that has gradually (and justifiably) grown around the film since, and still loved it. Cuarón mixes intelligent near-future sci-fi with exciting, and excitingly-realised, action sequences to create an action-thriller of a movie that stimulates both the mind and the adrenal glands. A fantastic film in every respect.

    #22 will be next… to give the Devil his due.

    The Man from U.N.C.L.E. (2015)

    2016 #8
    Guy Ritchie | 116 mins | streaming (HD) | 2.35:1 | USA & UK / English, Russian, German & Italian | 12 / PG-13

    Guy Ritchie is a self-confessed non-fan of the classic ’60s spy-fi series The Man from U.N.C.L.E., so he seems a somewhat odd choice to helm this long-gestating big-screen reboot of the franchise.

    Unsurprisingly, he gives it a bit of the Sherlock Holmeses (namely, a semi-comedic tone and appropriately swish, ’60s-ish direction), but loses some facets of the original (Russian agent Kuryakin is basically a completely different character). It’s entertaining nonetheless, if a little long.

    The biggest let down is that it all feels like a fun preamble to a better sequel that, after its box office failure, will never happen.

    4 out of 5

    Trivia time: in the 12 months ending January 1st 2016, seven films were released in the UK starring The Man from U.N.C.L.E.’s female lead, Alicia Vikander. Seven. She deserved that Oscar for sheer employability if nothing else.

    Kill List (2011)

    2016 #51
    Ben Wheatley | 92 mins | streaming (HD) | 2.35:1 | UK / English | 18

    I appear to be coming at director Ben Wheatley’s films in reverse order (having covered A Field in England in 2013 and Sightseers in 2014), and now I reach, not his feature debut (that’ll be ‘next time’, I guess), but certainly the film that brought him wider attention.

    To describe too much of the plot of Kill List, or to even name its genres, is to give away some of its mystery. It’s a problem for reviewers, and has been since it came out — I read an interview with Wheatley where he said he didn’t envy their job, trying to accurately assess and ‘sell’ the film without actually telling people why they should watch it! The marketing people go a little way towards that for us, though, billing it as a horror movie when it seems to be nothing of the sort for a very long time.

    It begins in that classic British tradition, the “kitchen sink” drama. Jay (Neil Maskell) and his wife (MyAnna Buring) argue about the fact he’s not got a job and the money’s run out. It becomes clear something happened in Jay’s recent past to spook him out of work. Then his mate Gal (Michael Smiley) comes round with a new girlfriend, Fiona (Emma Fryer), for one of moviedom’s more uncomfortable dinner parties. Gal talks Jay into joining him on a new job (there’s some criticism of the film for being a “one last job” movie, but I don’t recall it being presented as that — Gal talks him back into work, not for a definitively final go-round. Maybe I missed something); elsewhere, Fiona’s actions hint at something more… unusual going on.

    Kill List mixes in its genre elements — and they’re elements from a couple of different genres at that — so gradually that, as I said, it’s hard to discuss them without spoiling the film. (Much like the film itself, this review is getting progressively more revealing, so jump off when you’ve had enough.) It’s kind of a compilation of traditional British movie genres: we begin with kitchen sink, then discover we’re actually watching a crime film, before the final act swerves (though not without foreshadowing) into folk horror. The skill of Wheatley, and his co-writer Amy Jump, is in not making these transitions too implausible. That’s not to say they’re not surprising, but the doom-laden music, inexplicable proclamations by some characters, and a couple of very strange events should all clue the viewer in to the film not being a common-or-garden hitman flick.

    Even as the latter, it is, again, very “low-key British”. It follows through on its domestic setup, presenting the mundanities of the profession — it’s the kind of film where the dealmaking and mission-giving are dealt with in a dialogue-free montage, but we do see characters discussing how they’ll get out of the hotel lobby without an injury being noticed, who’s going to clean up the blood in the sink, and the quality of the hotel’s free toiletries. The biggest threat the characters initially face is their credit card being declined, which might, potentially, later, draw attention to them.

    The final act is naturally where the film reveals its overarching purpose… or rather doesn’t reveal, because there are a shortage of answers here. It’s a lot more straightforward than A Field in England, but it still offers few (or, some would say, no) explanations for what’s occurred. According to Wheatley, the screenplay was more explicit about what was happening and why, and so was some of what they shot, but he cut back on the exposition to leave it up to audience interpretation. This isn’t a film to passively watch and have everything explained, but even viewers prepared to do a little work for themselves may find it frustrating.

    Nonetheless, there is striking, unnerving imagery to be found during the movie’s climax, Wheatley and regular DP Laurie Rose using the pitch-black nighttime setting to create dread rather than merely accidentally hide things, as so many under-lit movies seem to nowadays. The handheld camerawork and jumpy cutting that earlier in the film was just a little New Wave-y comes into its own here, aligning us with Jay’s disorientation and confusion. While the ultimate result is arguably predictable, to get too caught up in the minutiae of whether it’s a twist or not is to miss the point. What the point is… well, that’s debatable, but I don’t think it’s meant to be a twist for the sake of a twist. (Others disagree.)

    The odd mash-up of domestic drama, mundane crime, and folk horror by all rights shouldn’t work, so credit is definitely due for the movie’s flow. Memorable sequences keep it ticking over throughout — and so they should: taking inspiration from the likes of Kubrick and Stephen King, Wheatley started from specific images and worked backwards to a plot. Here, I think that method has been effective. The abstruse ending won’t be to everyone’s taste, but the journey there is worth experiencing.

    4 out of 5

    It’s Ben Wheatley Night on Film4 this evening, beginning with Kill List at 10:45pm, followed by Sightseers at 12:35am and A Field in England at 2:15am.

    Wheatley’s new movie, High-Rise, is currently showing in scattered preview screenings around the UK (mainly in London, because of course), and is on general release from next Friday, March 18th.

    Daybreakers (2009)

    2016 #24
    The Spierig Brothers | 89 mins | streaming | 2.35:1 | Australia & USA / English | 15* / R

    Most of mankind have become vampires, but the blood supply is running out and without it people mutate into monsters. Ethan Hawke’s scientist is developing a substitute, but when he encounters human resistance fighters he learns there may actually be a cure…

    Made by the guys behind Predestination, Daybreakers offers an original and imaginative world (how would mankind cope if we couldn’t go out in daylight? Maybe like this). It’s somewhat let down by a few campy performances and a sensibility that reverts to action sequences, but originality counts for a lot, especially for genre fans looking for something different.

    3 out of 5

    * The distributor chose to make six seconds of cuts to get a 15 in cinemas. The uncut 18-rated version was released on DVD and Blu-ray. No idea which version is available through Channel 5, where I watched it. ^