True Adventure in THE MINSTRY OF UNGENTLEMANLY WARFARE

Inspired by the recently declassified, true story of British commandoes in World War II, The Ministry of Ungentlemanly Warfare, a lightweight war film by Guy Ritchie (Snatch, Sherlock Holmes), is popcorn entertainment and reasonably diverting.    

In wartime North Atlantic, German U-Boats are sinking Allied ships at an alarming rate, and with Great Britain on the verge of surrender, Winston Churchill devises a secret, unauthorized operation for a group of undisciplined, rowdy soldiers led by Gus March-Phillipps (Henry Cavill).  They are sent to destroy a supply depot for U-Boats thus endeavoring to cripple them in the war effort. As the plan goes, it involves spies and misdirects leading to a tense, explosive ending where last minute complications threaten to derail everything. As British command attempts to cancel this unsanctioned mission, can the team find a way to solve their dilemma in time?

The film, with an exuberant cast, is part cloak-and-dagger and against-all-odds mission, and is derivative of multiple films from an opening scene right out of The Guns of Navarone to Inglorious Basterds to Mission Impossible.  It feels almost contemporary despite being set in the early 1940s. With a Nazi kill count that rivals Where Eagles Dare, the tone that Ritchie chooses to take is for a fast paced story that is tongue-in-cheek and laced with his typical humor and repartee. It is not a stretch to describe the action scenes as almost comic strip worthy with a nasty villain to despise.

It’s a fascinating story (that sets up an obvious follow-up), but in the meantime, enjoy the pyrotechnics, and don’t pay too much attention to the plausibility of the narrative. It’s a fun ride from beginning to end.

**** of ***** stars (for Ritchie fans)

 

The Ramifications of CIVIL WAR

 

Writer/Director Alex Garland (Ex Machina, Annihilation) branches from sci-fi to a broader, ambitious canvas in Civil War, a realistic depiction of the United States at war within itself. Certain to raise debate and controversy, this is an effective, hypothetical conflict featuring strong performances.

The United States is under civil war dividing the country while the President has vowed to defeat the resistance.  Veteran photojournalist, Lee Smith (Kirsten Dunst), and a cobbled group of journalists drive cross country to reach Washington, D.C., to interview the President before opposing forces attack.  A young photographer named Jessie (Cailee Spaeny) tags along, and soon, the group must navigate eerily quiet towns, burned out vehicles, and war zones where death can happen anytime.  As they approach the nation’s capital, fighting intensifies and their attempt to reach the President grows untenable.

This is not a message film, but it is a story told strictly from the perspective of photojournalists. The crux of the plot shows the hardened, veteran Lee mentoring and looking after Jessie from beginning to the fateful ending.  Some impressive moments include a particularly disturbing scene with a death squad and a pulse pounding, climactic battle in DC.  The film may divide audiences with its frightening scenario while making no attempt to explain what causes the war nor does it take a side.   Instead, it is concerned with the visceral, horrific experience of war while focusing on the journalists as they witness the last bastions of civil order.  Despite minimal character development, Dunst and Spaeny are standouts.

The film’s lack of explanation may frustrate some as it settles for a superficial, yet harrowing journey and an ironic, though not unexpected ending.  It wants to provoke serious discussion but could have been emboldened to take a more challenging narrative.

**** of ***** stars

THE FIRST OMEN and How it All Began

The First Omen is a prequel to a series of films that began in 1976 with The Omen.  With a feature directorial debut by Arkasha Stevenson and a mainly fresh cast of faces, this is an effective setup of the rise of dark power.

It is Rome in 1971, a time of social unrest and violence when Margaret (Nell Tiger Free) arrives from the states to take her vows of sisterhood.  She befriends a troubled teen girl who has an aura of trauma. There is an earlier scene that tells of a female child borne for one, unholy purpose at adulthood.  A feeling of something evil permeates the air as Margaret discovers some terrifying truths about the church while she is plagued by nightmarish visions driving her to question her own sanity.  

Despite outward appearances of a nurturing environment, there are hints of a growing fear and even conspiracy that involves the clergy.  The Omen films were notable for depicting graphic, even spectacular deaths, and there is an element of that here.  However this story attempts to build an insidious plot to bring into the world the Antichrist for power and to control that power, an interesting twist on the original premise. There are a number of misdirects but you know where this is all going.  Soon it is hard to know who to trust as the film finally reveals its horrifying truths and a traumatic birthing scene that rivals the one in Prometheus. 

This film is better than you might think, and it does a pretty good job especially toward the end as it links up with the original Omen film. It will resonate with fans of these films who are familiar with the lore. 

**** of ***** stars (for Omen purists) 

 

Veteran Actor Bridged Civil Rights Era

Actor Louis Gossett Jr. has passed at 87. He was the first black actor to win a Best Supporting Actor Oscar for An Officer and a Gentleman. He also won an Emmy Award as a lead actor for the groundbreaking miniseries Roots. He began acting during the civil rights era appearing in many TV shows like The Rockford Files, Bonanza, and The Partridge Family and major films like the Iron Eagle films, Enemy Mine, and The Deep. He had recent roles on the miniseries Watchmen and the film musical The Color Purple. He has a number of forthcoming projects including the fantasy IF. I had the pleasure of meeting him a few years ago at the MidAtlantic Nostalgia Comvention. He told me he had studied martial arts before filming An Officer and a Gentleman. He was really nice, a true gentleman.

TV Horror and LATE NIGHT WITH THE DEVIL

From brothers Cameron and Colin Cairnes comes this clever horror film that takes a familiar setting and twists it into the unexpected.

It is 1971, and ‘Night Owls’ is a late night show hosted by recently widowed Jack Delroy (David Dastmalchian finally gets a lead role) who is desperate for a ratings boost versus The Tonight Show.  Delroy’s guests for a special Halloween show include a medium, a professional skeptic, and a parapsychologist whose patient, a teenaged girl named Lilly, is the survivor of a devil worshipping cult. Lilly’s disarmingly polite demeanor belies a hidden friend, Mr. Wriggles, who is waiting to be unleashed, and when he is, things take a decided turn for the worse in ways no one is prepared for.    

The narrative follows ‘newly discovered’ videotape (like The Blair Witch Project) of an infamous, ‘Night Owls’ broadcast.  As it builds ominous tension and menace, there is a strong dose of the paranormal which forces the audience to question what is real or imagined.  Bizarre events occur, and you get the feeling something very bad, even apocalyptic is about to happen.

The show verges on Jerry Springer parody, and its use of videotape recalls The Ring.  In fact there are bits that may recall films such as The Exorcist, Halloween III: Season of the Witch, and even Network with a touch of David Cronenberg.   The wardrobe recreates the period as do commercial title cards (AI generated unfortunately).  The film sets up a wild climax, but it doesn’t quite stick the landing nor adequately connect all the dots including Delroy’s ties to a secret society and the loss of his wife. Still, it is a winner and a promising sign of things to come from these talented brothers.  

**** of ***** stars

 

Frampton Comes Alive Again!

 Linda and I saw a great concert by rock veteran Peter Frampton who strummed and   jammed his guitars like he picks his teeth with them. He was amazing and played well over two hours nonstop and he is almost 74!! He sat the whole time but his fingers were unstoppable and articulate. He jammed and had wonderful rapport with the audience. I only knew him from probably the greatest live album of all time.  He folded hit songs among lesser known tunes, but they all were engaging. 

96th Academy Awards

The Oscars ceremony was on time and well paced with Jimmy Kimmel as emcee. The Memoriam segment wasn't the best, but Ryan Gosling and Billie Eilish were impressive singing Barbie songs. There was a strong voting surge from The Zone of Interest and Poor Things so my picks were off- I was 16 of 23 categories. The tightest contest saw Emma Stone win over Lily Gladstone. It was touching to see Steven Spielberg award Christopher Nolan Best Director; it felt like a changing of the guard. It's very very late, and another year of films await.

2024 Oscar Predictions for 2023 Films

 

The tsunami of Oppenheimer may sweep most of the categories, maybe eight total while most other worthy films may only get a single Oscar.  Yet some great films (Air, Saltburn, and All of Us Strangers) never received a single nomination. I have seen all the nominated Best Pictures and many of the other categories but not short subjects. So I will give my best guesses and a couple bold picks based on my gut.  There are always surprises among the winners. I hope you enjoy the show Sunday evening because it celebrates movies!

Picture- Oppenheimer

Director- Christopher Nolan for Oppenheimer

Actress- In my heart Lily Gladstone for Killers of the Flower Moon as its only win over a very deserving Emma Stone repeat for Poor Things

Actor- Cillian Murphy for Oppenheimer

Supporting Actress- Da’Vine Joy Randolph for The Holdovers

Supporting Actor- Robert Downey Jr. gets his due for Oppenheimer

Adapted Screenplay- American Fiction deserves it over the popular Oppenheimer

Original Screenplay- Anatomy of a Fall seems to have it over worthy The Holdovers and Past Lives

Cinematography- Oppenheimer

Costume Design- Barbie over neck and neck Poor Things

Film Editing- Oppenheimer

Makeup and Hairstyling- Maestro over Poor Things

Production Design- Poor Things by a hair over Barbie

Score- Oppenheimer

Song- “What Was I Made For?” from Barbie

Sound- Oppenheimer

Visual Effects-Godzilla Minus One over The Creator, both films excelling on modest budgets

Animated Feature- Spider-Man: Across the Spider-Verse

Documentary Feature- 20 Days in Mariupol

International Film- The Zone of Interest is a lock

Animated Short- Letter to a Pig over charging War Is Over!

Documentary Short- The ABC’s of Book Banning

Live Action Short- The Wonderful Story  of Henry Sugar

DUNE: PART TWO-A Richer, Deeper Mythology

A direct sequel to the original film, Dune: Part Two is ambitious storytelling that succeeds on all levels as a sci-fi allegory that boasts an incredible cast and stellar production values across the board.

Schemed by the Emperor and executed by the Harkonnen led by the Baron and his two lethal nephews, the last surviving bloodline of House Atreides, Paul (Timothée Chalamet), and his mother (Rebecca Ferguson) flee and find refuge with the Fremen on Planet Arrakis where the coveted ‘spice’ is mined.  Learning the ways of the Fremen through Chani (Zendaya) and Stilgar (Javier Bardem) and attempting mastery of the powerful sandworms, Paul undergoes a transformation that leads some to believe he is a messiah. War appears inevitable, and as threatening forces approach, can he galvanize an army to save the Fremen and exact revenge for his family?

Director/cowriter Denis Villeneuve (Arrival) has successfully accomplished the formidable task of adapting the complex Dune mythology with its myriad of subplots and characters to a remarkably coherent, follow-up film (that may still require repeated viewings) while always keeping Paul’s narrative front and center.  The film also features excellent action scenes (particularly a concluding hand-to-hand battle) and hardware/tech that feels real and authentic.  It’s a fully realized universe enhanced with exceptional special effects and magnificent cinematography highlighting awesome visuals (especially on IMAX screens). 

With the promise of completing the Dune saga (with Dune Messiah), this film brings major plot points to a conclusion while setting up a grand conclusion.  It is an impressive chapter much in the way The Empire Strikes Back was for the Star Wars franchise.  These films may not appeal to all, but those who are drawn to the ethos of this sprawling epic will find it irresistible and still fulfilling.

***** of ***** stars (a must for Dune and Chalamet fans)

 

Reliving Trauma in MAY DECEMBER

 

A well-acted drama inspired by actual events, May December is a somber exploration into human behavior and uncovering the past.  Directed with sensitivity by Todd Haynes (Carol, Far From Heaven), it is a fascinating ‘story behind the story’ kind of film.

At a home in Georgia, a mom and dad interact with their teen kids. Into this setting comes an actress, Elizabeth (Natalie Portman), who is preparing to star in a movie about their illicit, now infamous affair between a then 36 year old married woman, Gracie (Julianne Moore), and a 13 year old student, Joe (Charles Melton is impressive as adult Joe).  As she gathers fragments of information and recollections, her journey into their lives is an attempt to understand and reconstruct what happened and how this has affected them in the present.  While Gracie and Joe prepare for their children’s graduation, Elizabeth gets to the heart of the matter which reopens a painful past and creates emotional upheaval.

 By peering beyond superficial appearances, the film explores how these principals originally connected and how people’s lives were affected and even traumatized.  Upon deeper inspection, there is a level of tension that builds slowly and some dark secrets slowly emerge.  The dynamic between Gracie and an adult Joe is a complicated relationship; these are deeply troubled individuals.  Were they naïve or deliberately intent on their relationship, and what is truth and fiction? 

Some may find the film’s deliberate pacing slow and tedious, but Haynes is carefully painting a realistic, methodical narrative.  Getting to the essence of the real story is its overriding theme, and while the film ultimately opens old wounds and shakes up perceived, normal lives in favor of a sobering reality, it is a rich, character study. 

**** of ***** stars    on Netflix

Terp Coaching Legend

 

Coach Charles "Lefty" Driesell has passed at 92. This legend of college basketball never won the NCAA Championship, but he won on every other level with NIT and ACC Championships and countless NCAA tournament appearances resulting in numerous Coach of the Year honors. 

With a lifetime record of 786 wins and 394 losses, he won more than 100 games at four different NCAA division 1 schools earning a reputation as "the greatest program builder in the history of basketball". He spent the most time at University of Maryland at College Park, my alma mater, (even visiting for a sit down chat with our dormitory when I was a student) where he achieved greatness and could beat the best teams in the country. Those were glorious times.

A Super Super Bowl

 

They say this season was a setup. It sure seemed to play out as if destined, but give Kansas City props for defying the odds. I only feel badly for Shanahan and SF who could have easily won. With a young QB in Brock Purdy who acquitted himself quite well, they will compete for years to come.  As Usher put on a star studded halftime show, it one heck of a Super Bowl with Overtime too!

Apollo Creed Evermore

 

Actor Carl Weathers has passed at 76. A former football star in college and the pros, he appeared in numerous films and TV shows including In the Heat of the Night, The Shield, Arrested Development, and The Mandalorian. He is primarily known for his roles in films like Happy Gilmore, Force 10 from Navarone, and Predator. He will be fondly remembered as boxer Apollo Creed, his signature role, in four Rocky films.

ARGYLLE and Its Twists and Turns

 

With a visual style akin to his Kingsman films, Matthew Vaughn (Layer Cake) directs this entertaining take on the spy genre that brings together a stellar cast and an imaginative plot.

‘A man meets a woman at a club, and it turns into a deadly face off.’ Such is the opening scene in a spy novel by Elly Conway (Bryce Dallas Howard), a celebrated author who lives alone with her cat Alfie. On a train to see her doting mom (Catherine O’Hara in fine form), she is confronted by assassins including a fan/undercover agent, Aiden (Sam Rockwell).  It turns out that Elly’s novels are too close to the truth in the spy world, and only she can provide the next chapter to her story.   She is living a real life adventure where she alone holds the key, but who can she trust?  As she crisscrosses the globe, her reality comes into sharper focus, and some secrets emerge that will greatly change her life if she survives.

The film is constructed as an elaborate ruse with a diabolical plot that borders on parody alongside flashy set pieces and a sense of humor.  It also functions as a mystery that leads to some interesting misdirects and genuine surprises to keep things fresh.  Elly must cope with her fears and mental block as memories and truths from the past are gradually revealed. (Some plot points recall The Bourne Identity and The Long Kiss Goodnight.) 

There is plenty of action in this well-paced film, and Rockwell is quite appealing as is the supporting cast (including Henry Cavill, Samuel L. Jackson, Bryan Cranston).  Despite an outrageous, over-the-top finish, it is a pleasant diversion (with a mid-credit scene).  Just don’t take it too seriously.

***1/2 of ***** (for Rockwell and cat fans)

Enduring Love in PAST LIVES

 

A simple tale of desire and obsession drives this touching tale told with honesty and authenticity in Past Lives, a well-acted romantic drama. Writer/Director Celine Song has crafted a story that spans the globe over many years. 

Two Korean children, Nora and Hae Sung, become close friends until Nora’s family moves to the U.S.  A dozen years pass, and Nora (Greta Lee) is a writer in New York City when Hae Sung (Teo Yoo) reaches out to reconnect with her virtually.  Though she enjoys their long distance chats, she is career minded and pauses their communication and the possibility of visiting each other.  As another 12 years elapse and their lives have changed markedly, Hae Sung still holds feelings for Nora and plans to visit his true love.  How will the two respond to one another, and can they ever truly find happiness?

Instantly likable as adults, there is definitely a chemistry between the lead characters. There is a sense they belong together, and you are rooting for them even though they have changed.  It brings to mind the concepts of fate and missed opportunities, and though Nora and Hae Sung have experienced life over time, there is still an intrinsic bond that may be something greater than friendship.  The film conveys the loneliness of a big city, and while there are stretches with little dialogue, the story never loses its focus.  The final, emotional scene rings true.

The standout here is Lee whose character is the basis around which the narrative revolves.  Though spoken mostly in Korean and some English, the language of love is universal. With similar vibes as Brief Encounter and Lost in Translation, it’s a realistic, modern take on love.  In Song’s world, love, at times painful, never truly dies.  

****1/2 of *****stars