Steven Spielberg’s Cold War historical drama Bridge of Spies feels like it may get lost in the 2015 spy film shuffle. It has neither the name recognition of the franchise films released this year (Mission: Impossible and Spectre), nor the comedic leanings or freshness of something like The Kingsman. This would be a shame, as Bridge of Spies proves to be a mature and nuanced investigation of loyalty and integrity. At the same time, it offers a reminder that in fighting demons, we must always make sure not to become one.
Tag: Historical
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Denis Villeneuve Week continues with the director’s first feature-length English-language film, Polytechnique (though the film was actually produced in both English and French, I will be reviewing the English film; Blu Ray editions contain both versions, if you’re sufficiently interested). The film is a realistic, formalist reproduction of the events of December 6, 1989, which would come to be known as the École Polytechnique Massacre (aka the Montreal Massacre). Villeneuve treats the subject with the utmost respect, and delivers a stark and beautiful rejection of all doctrines of hate. The trailer below offers a powerful sample of this great film:
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The threat of physical violence is omnipresent in Scott Cooper’s muted crime drama, Black Mass. The narrative focuses on the Faustian bargain between FBI agent John Connolly and his childhood friend and mob boss James “Whitey” Bulger. As both men climb the ranks of their respective worlds, Connolly’s craft is subterfuge and deception; Bulger’s is intimidation and brute force. Though the card house tumbles eventually, neither the fall nor the resolution are the crux of this story. We may have come for the crime drama, but Cooper’s film strength is in the contemplation of Connolly’s misplaced loyalty towards Bulger, which the gangster wantonly exploits.
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Precisely every 23 minutes, the standard length of a half-hour of broadcast network television, Good Night, and Good Luck. is interrupted by a jazz song. This instills George Clooney’s Red Scare historical drama with a distinctly episodic feel, mirroring the drama that unfolds on screen. The story follows newscaster Edward R. Murrow as he and others at CBS confront Senator Joseph McCarthy at the height of his anti-communist witch hunts. Shot in color but corrected to black-and-white, the film returns us to another time where paranoia ruled the nation, and where men capable of capitalizing on it rose to national prominence by fanning the fear. It also offers a biting condemnation of media outlets in general, and especially the corporate nature of television broadcasts.
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Scott Hicks’ Shine is a brilliant film about the damage that can be done by a traumatic experience during childhood – whether a single devastating event or a prolonged poisonous relationship. The film tells the true story of David Helfgott and his struggle to celebrate his love of music despite the stifling instruction of his father Peter Helfgott, a Holocaust survivor intent on preserving the integrity of his family by all means possible. And as the desires of father and son square off, the result alternates between tragic and overwhelmingly uplifting.
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A few months ago, I wanted to write a news piece about some casting announcements for the new film Trumbo, but I held off. Now, the first trailer for the McCarthy-era film about the blacklisting of the titanic Hollywood screenwriter Dalton Trumbo (played by Bryan Cranston) has been released, and it looks like we’ve got one of our first serious Oscar contenders. Have a look:
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Ayrton Senna navigated the racetracks of Formula One as Beethoven navigated the symphony. Born in São Paulo in 1960, Senna and his career racing Formula One is the subject of the Asif Kapadia documentary Senna. The film uses archival footage of Senna’s interviews, racing coverage (including on-car cameras), and voice-over interviews from his friends and family to document his ascent through the sport, culminating in multiple World Championships. The strength of Senna lay in its ability to transport the viewer into Ayrton’s head as we ride along with him at over 200 miles per hour. We feel his frustrations, experience his triumphs, and even see through his eyes during tense races. What emerges is a story exploring themes of the weight of immense ability and the inspiration that such ability can provide, all amid the backdrop of heart-stopping, tense racing action and political intrigue.
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If you’ll recall, a couple of weeks ago The Martian was moved up over two months for an October 2nd release. There, it will compete with the Robert Zemekis film The Walk and Brian Helgeland’s Legend, starring Tom Hardy (twice). And, while we’ve had a couple of different looks at The Walk (which I always want to call “The Wire” at first – I wonder if that will ever stop), we only got our first full look at Legend late last week with the first official US trailer, and it looks like October 2nd is shaping up to be a spectacular weekend for film fans. Have a viddy:
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What the Hell is this Dragon Blade trailer? When was the last time that a swords and sandal epic was actually worth anything? Well, here we get a major film produced in China starring Adrien Brody, John Cusack, and Jackie Chan. The film was originally titled, “Tian jiang xiong shi”; literally, “Celestial General, Heroic Army” which is an infinitely better name than the generic “Dragon Blade”, especially since I am pretty sure there will be zero dragons and zero mystical blades. The plot focuses on a battle in antiquity over control of the Silk Road between corrupt Roman generals and Chinese tribes during the Han Dynasty. Somehow, I have watched this trailer three times and have managed to avoid even a single seizure from the dozens of quick cuts. I have, however, scoffed aplenty at the flat line readings, ridiculous dialogue, and downright confusing plot. Have a look:
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Who wants to have exactly zero fun watching Michael Fassbender starve himself to death? If there are any takers, I’d love to point you to Steve McQueen’s Hunger, a dramatization of the 1981 Irish hunger strike. McQueen burst onto the scene with this sobering tale of a five-year-long protest by incarcerated members of the Provisional Irish Republican Army. In Hunger, McQueen offers up the raw filth of the history, but also reveals the depravity justified by a ruling government when dealing with “enemies”, a timely theme considering the ascension of the surveillance state and hard questions about the incarceration of enemies of the state.
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