Feeds:
Posts
Comments

Posts Tagged ‘Kelly Reilly’

James Watkins’ Bastille Day opens with as brazen as piece of gratuitous female nudity as you will see in any film this year, proceeds to include as many low-fi foot chases, car chases, punch-ups and gun battles as the plot can contain while remaining even remotely credible, and concludes with its star, Idris Elba, belting out a funky number over the closing titles. There is no great mystery as to what kind of film this is – in fact there is something quite endearing about just how up-front it is about its ambitions. Bastille Day really, really wants to be a Luc Besson movie (with a side order of ‘star vehicle for currently-hot Idris Elba’).

bastille-day

All the Besson tropes are here: the cheerful purloining of action movie tropes from American cinema, a plot that does the business as long as you don’t look too hard, very decent action sequences, and some rather underwritten female characters. I genuinely thought this was a Besson project while I was watching it, so note-perfect is the imitation of style. But apparently not.

The odd thing is that this is in many ways a British movie trying to copy a French director best known for making films in an American style. As things get under way, we meet American pick-pocket Michael Mason (Richard Madden, who’s British), who spends most of his time ripping off tourists in Paris, where he lives. However, things take a left turn for him when he unwisely steals the bag of a young French woman called Zoe (Charlotte Le Bon, who’s Canadian), coerced into planting a bomb by her dodgy boyfriend, rather against her better judgement.

Well, the bomb goes off, but luckily neither Mason nor Zoe are injured. However, Mason is now being hunted by the authorities as a suspected terrorist, and the people who made the bomb would quite like a word with Zoe, too. As luck would have it, the CIA’s Paris section have a head start on finding Mason, and the case is assigned to agent Briar (Elba, who’s also British). Elba is introduced in one of those scenes where his weaselly superior tries to drag him over the coals for being an undisciplined maverick, but he’s such a badass dude that he reduces his boss to an impotent fury with a few cool putdowns. Honestly, watching this scene was like seeing an old friend again – I wanted to stand up in the cinema and give it a big hug.

Anyway, Briar’s bull-at-a-gate approach to intelligence work means that ten minutes after his CIA supervisor (Kelly Reilly, who’s also British) instructs him to discreetly locate and detain Mason, he is chasing him over the rooftops of Paris while waving a gun. Needless to say, this is Elba’s movie not Madden’s, so he catches him and the two can get to work on their buddy-movie rapport (not to mention progressing the plot). It transpires that dark forces are at work seeking to foment panic and chaos in the French capital ahead of the Bastille Day parade, but not all is quite as it appears to be…

First things first: going ahead and releasing a movie about terrorist attacks in Paris is a ballsy choice at the moment, although my understanding is that this movie was shot in 2014, when the subject matter must have seemed slightly less provocative. This is especially the case given that Bastille Day is very definitely pitched at the no-brainer end of the market – this is not a film of big ideas, intended to make one reconsider the impact of terrorism on modern society or the role of the state in maintaining civil order. This is a film about Idris Elba kicking people in.

That said, Bastille Day manages to get away with it, just – it certainly doesn’t come across as anything like as ugly and reprehensible as London Has Fallen, for instance – partly because Elba comes across as less of a homicidal maniac than Gerard Butler, and partly because it quickly becomes fairly clear that the film isn’t actually about ‘terrorism’, and the bad guys aren’t radicalised Muslims, but a set of stock figures who should be quite familiar to anyone who’s watched more than a handful of action movies in the last twenty years.

The film’s attempts at being contemporary are pretty much restricted to including something rather like the Occupy movement, which surely barely counts as topical any more anyway. Still, this isn’t the kind of film you go to for bold new ideas: as I said, you know pretty much from the start more or less how it’s all going to go down – a lot of running around and shouting, a little exposition (hopefully inserted as subtly and painlessly as possible), some snappy banter between our two heroes, and a big gun battle at the end.

Bastille Day provides all these things extremely competently, and Idris Elba carries the film well: although if, as many are suggesting, this is effectively his audition piece, made with an eye to becoming the next James Bond, I’m not sure it quite does the job. He can handle the tough guy stuff very well, but I’m not sure he’s quite smooth enough for Bond (novel though it would be to have Bond himself singing the theme song). Others may disagree. The film does lack a properly strong villain for him to face off against – if this really were a Besson movie, there would be someone like Matt Schulze or Tcheky Karyo having a whale of a time and chewing the scenery, but the bad guys here are extremely anonymous, which may be partly why the climax of the film feels a little underpowered and flat.

I must confess to turning up to Bastille Day with extremely modest expectations, and was pleasantly surprised to find myself enjoying the movie as much as I did. This film is not going to rock anyone’s world, or turn anyone involved into a red-hot property, but it ticks nearly every box required of it and manages to generate moments of genuine humour, suspense, and excitement. This is a very competently made mid-budget action movie, nothing more and nothing less. As such it’s exactly the film it wants to be, and well worth seeing if you like that kind of thing.

 

Read Full Post »

For a while I was slightly aware that this year was looking a bit lightweight, both in terms of the number of films I’d been to see, and their overall quality – I was a good half-dozen behind where I’d been at the same point in 2013. However, having seen five films in the last fortnight, with at least two more coming in the next week, these concerns feel less pressing. It has also helped that most of these movies have been pretty good in one way or another: certainly, none of them has been a total disaster.

Particularly outstanding, in many respects, was John Michael McDonagh’s Calvary. The McDonagh brothers (John Michael’s sibling is Martin, writer-director of In Bruges and Seven Psychopaths) are rapidly establishing themselves as film-makers of real stature, and Calvary may be the best film one of them has yet produced.

calvary

Brendan Gleeson plays Father James Lavelle, a Catholic priest in the Republic of Ireland. While hearing confessions one day, an unidentified parishioner reveals that he was abused as a child by another priest, now dead. As an act of retribution, the man now intends to kill Lavelle, reasoning that no-one will bat an eyelid at the death of a guilty priest, but the murder of a good and innocent man as punishment for the sins of another will attract everybody’s attention. The would-be killer thoughtfully gives Lavelle a week to set his affairs in order.

That Lavelle does not immediately consider if he is justified in calling in the police, or contemplate skipping town entirely, tells you something of the tone of Calvary, which is measured and thoughtful throughout. The film follows the priest through the week and observes his interactions with various members of his flock, who are a colourful bunch, as well as his troubled daughter (Kelly Reilly) – she is the product of a marriage which ended prior to Lavelle’s taking the cloth. All the time the viewer is aware that a clock is ticking, but Lavelle concerns himself with a troubled marriage, or a prison visit, or giving solace to a recently-widowed woman: simply with being a priest, in other words.

And it seems to me that this is what Calvary is actually about: the question of the place of religion in the modern world. The setting of the film is clearly contemporary – this is an Ireland ravaged by the wake of the financial crisis, where the church is under siege from accusations of corruption and much worse. As a source of moral authority, Lavelle finds himself constantly challenged and mocked, both by nominal Catholics and atheists, while even his decision to follow his vocation and join the priesthood is criticised by his daughter. ‘Your time has gone,’ he is explicitly told at one point.

This of course feeds into the idea of the film as an allegory for the story of Christ, which it is obviously intended to be (the title and the premise make this clear) – but it’s also a character study of Lavelle, and the question of exactly what motivates him. By potentially risking death, is the priest simply trying to justify his own existence? Does some part of him actively seek martyrdom? The film is intelligent enough not to offer easy answers (nor, indeed, does it entirely resolve its own plot, which some people may grumble about).

The last film from Gleeson and McDonagh was The Guard, to which Calvary bears something of a resemblance – community figure in rural Ireland with troubled female relative, literate script, various oddball supporting characters, somewhat offbeat conclusion – but this is a much more serious and thoughtful film that isn’t afraid to deal with some difficult subject matter. It’s by no means totally gloomy, but it’s certainly not a comedy either.

This is despite the presence of a few actors best-known for comic work: Dylan Moran and Chris O’Dowd both appear, along with Aidan Gillen, Domhnall Gleeson, and various people who were also in The Guard (Gleeson Junior is issued with an unflattering brown wig to reduce his resemblance to his dad). All the performances are good, but dominating the film with a monumental portrayal of simple humanity and decency is Brendan Gleeson. In Lavelle, he and McDonagh have created another richly three-dimensional human being: I fear that the decision to release Calvary at Easter may mean the film is forgotten about when it comes to next year’s awards season, for once again Gleeson is deserving of some sort of recognition for his work here.

But, on the other hand, many people may just regard this as a child-abuse drama about the Catholic church in Ireland, and stay away on principle. This would be a great shame, for Calvary is much more than that. It’s as complete and as satisfying a film as any I’ve seen this year, and managed to be thought-provoking, moving, funny, and occasionally upsetting to watch. Well worth seeking out.

 

Read Full Post »