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Posts Tagged ‘Mads Mikkelson’

When we talk about genre movies we’re usually talking about highly distinctive genres with very definite conventions – something can be a good example of a western, or a rom-com, or a martial arts movie. These kinds of films often get looked down somewhat – I remember being rather condescendingly nicknamed Genre Boy by a colleague whose own tastes in film were, they clearly felt, somewhat more elevated and refined. At the risk of sounding like a cross between China Mieville and Bertrand Russell, I don’t have much time for this: if the concept of genre is to have any validity, then it applies to everything. You can’t write a book that doesn’t belong to a genre; nor can you make a non-genre film – it’s just that the genre conventions are looser and less obvious in some cases.

‘Drama’ is one of those loosely-defined genres; ‘comedy’ may well be another. It’s not that often that we see one of the less reputable genres smashing into either of them; your genre mash-up is usually something like a kung fu-western or a horror-road movie. But such a thing is possible, and Anders Thomas Jensen’s Riders of Justice (title pa Dansk: Retfærdighedens Ryttere) is a pretty good example of it.

Mand dagens Mads Mikkelson plays Markus Hansen, a veteran officer in the Danish army – ‘tough guy’ doesn’t begin to do him justice; he is as hard as stone. This doesn’t always make him the easiest person to live with, but his wife and daughter Mathilde (Andrea Heick Gadeberg) seem quite fond of him anyway. However, everything changes when Mathilde and her mother are caught up in a train crash, which only Mathilde survives.

Markus flies home on compassionate leave and the two of them attempt to process their loss, which is probably easier for her than him. Something unexpected enters the situation with the arrival at their door of Otto (Nikolaj Lie Kaas), a statistician who was on the train as well, and who gave up his seat for Markus’ wife. He believes the accident – which caused the death of a man due to give evidence against a biker gang involved  in organised crime – was too improbable to be anything of the sort, and the gang – the Riders of Justice – were responsible.

Markus wants to see Otto’s evidence, of course, which involves bringing his associates into the picture: fellow computer and data experts Lennart (Lars Brygmann) and Emmenthaler (Nicolas Bro). Soon the nucleus of a very unlikely vigilante revenge squad is forming, with the others in awe of and possibly slightly frightened by Markus’ hard-man charisma, and him dependent on them to get him where he needs to be…

We were talking very recently about the phenomenon of the bus-pass bad-ass movie, which this is sort of heading towards being (Mikkelson is 56 this year), but – the fact he’s the father of a teenage girl notwithstanding – the movie isn’t really about his age as much as the fact he’s a man with a certain set of skills and a very compelling incentive to use them. From some angles it looks very much like a straight down the line revenge thriller, complete with suitably heinous villains to be dealt with.

However, looked at another way, this is a very different kind of film – or at least, a combination of two or three very different kinds of film. Otto, Lennart and Emmenthaler are a trio of oddballs and misfits, much given to geekish squabbling over absurd minutiae and obsessing over niche details (Lennart has some sort of monomania when it comes to well-constructed barns, for instance, though there are hints that this stems from his own very troubled past). Their various fallings out are absolutely played for laughs, and are all the funnier for being set against Mikkelson’s baleful restraint. It’s a bit like the Punisher going into action backed up by Dad’s Army or the characters from The IT Crowd.

But it’s not just a simple black comedy-thriller: throughout the film the script takes a keen interest in the chain of cause and effect, and the reasons why things really happen, and appears to conclude that while the world is deterministic and comprehensible, this doesn’t occur on a scale which is accessible to the human brain. We may never know exactly why things happen, tragedies included: the deaths of our loved ones will always seem savagely random.

How people cope with grief and the cruelty of the world is really what this film is about: the revenge thriller bit is very engaging and the comedy business between the different characters extremely funny, but at its absolute heart this film deals with Markus’ inability to process his emotions and come to terms with the death of his wife, or establish any kind of bond with Mathilde. He refuses the offer of trauma counsellors for either of them; the irony is that he’s forced to pretend his new associates are exactly that, to explain what they’re all doing in the barn all day. The triumph of the film comes not just through the resolution of the biker gang revenge plotline, for this is a very ambiguous and dark kind of triumph, but through the bonds that have developed between Markus, Mathilde, her boyfriend, Otto and the others, and even a Ukrainian former sex slave they pick up in the course of the story.

The big challenge of this kind of film is to find some kind of consistency of tone, given the swift transitions between drama, comedy and action which occur throughout the film – Jensen pulls this off extremely well, unafraid to push the boundaries of each (some of the comedy is extremely droll and silly, some of the drama genuinely affecting, and some of the violence quite difficult to watch). There is a sense in which some of the connective tissue of the plot seems a little dubious – this is pretentious pretend film-critic talk for ‘the story depends on a couple of whopping coincidences to function’, but then again… I run the risk of committing spoilers here, so I must stop.

Riders of Justice gets more serious and less funny as it goes on, more or less, but it’s still a distinctive and highly original film filled with good performances and interesting ideas. It’s the sort of film I can imagine them remaking in America with only a fraction of the subtlety and wit, to considerably less effect, so it might be best to catch the original now while it remains unsullied. A very hard film to describe, but well worth seeing.

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You may relax, your calendar is not broken: there are, as usual, two Marvel Studios films on release this year, it’s just that one of them hasn’t come out until now – not quite the first time the studio has done something like this, but not exactly their standard practice either. Anyway, not content to rest on their laurels and do another sequel with an established brand, Marvel have opted to press on with bringing what sometimes feels like their entire catalogue of characters to the big screen (well, except the ones that Fox still have the rights to, anyway). This time, Scott Derrickson has been put in charge of adapting one of Marvel’s less prominent properties, a bit of a cult character from years gone by, if the truth be told. Yes, finally, it’s a movie version of Night Nurse!

Well, not quite, although one of the Night Nurse characters does appear (another one is sort-of in the Daredevil TV show, of course). No, the new movie is Doctor Strange, based on one of the few major Marvel characters not to primarily be a Stan Lee-Jack Kirby creation – on this occasion Lee worked with Steve Ditko. This was the same pairing which created Spider-Man, so you would think that the omens were good. Well, sort of, but we’ll come to that.

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Stephen Strange, a brilliant but egotistical and obnoxious neurosurgeon, is played by Benedict Cumberbatch, who is probably overdue to be making a major appearance in this kind of movie. (Yes, this does mean that Dr Strange is technically one of those superheroes who operates using his real name.) Strange has sort of nibbled around the edges of a romance with fellow doctor Christine Palmer (Rachel McAdams) – the Night Nurse character to whom I alluded earlier – but having a relationship is tricky as he is really much more in love with himself.

Things inevitably change when Strange is involved in a serious road accident which leaves him with severely damaged hands, thus ending his surgical career. Exhausting his fortune in pursuit of some kind of treatment for his condition, he eventually learns of a school in Nepal where apparently-miraculous cures have been known to happen. (The school obviously isn’t in Tibet, because Marvel want to sell their movie in China.) There, he encounters a mystic teacher known as the Ancient One (Tilda Swinton) and her disciple Mordo (Chiwetel Ejiofor), and rapidly discovers that this is actually a school for your actual magicians and sorcerers…

Well, this isn’t enough to rattle a character played by a performer of the magnitude of Benylin Thundercrack, and so Dr Strange signs on to learn to become a magician, though he is excused the scene with the Sorting Hat and also quidditch practice. What he doesn’t know at first, however, is that a fallen disciple of the Ancient One (played by Mads Mikkelson) has entered into a pact with the dread Dormammu, tyrant of the Dark Dimension, and is planning to conspire in the world’s destruction in exchange for eternal life. Is there a doctor in the house?

It may seem a little odd for Marvel to have held Doctor Strange back until eight years into their franchise-of-franchises undertaking, especially when more minor characters (Ant-Man, the Guardians of the Galaxy) have already made their movie debuts. Maybe so, but Dr Strange has always been a slightly tricky proposition as a character – Steve Ditko’s extraordinary psychedelic artwork in the early issues from the 60s led many observers to assume that the only magic involved came from mushrooms, while from a story point of view, Dr Strange is often presented as so nebulously omnipotent that he can be very difficult to write for.

So, very nearly full marks to Derrickson and his team for coming up with a movie that is distinctively Strange while still remaining wholly accessible (I would guess) to the uninitiated viewer. (I’m sure casting a very popular performer like Cumbersome Bandersnatch won’t hurt the box office numbers either.) Marvel’s policy these days seems to be to offer up something which is partly very familiar and partly rather new, and it continues here.

I feel I should mention that one of my friends who I saw the film with disagreed, suggesting that every Marvel adaptation sticks close to exactly the same formula, basically that they all end with a city on the verge of spectacular destruction, and that this one is no exception – I should quickly add that he still thought this film was enjoyable. Personally I don’t agree – neither Ant-Man nor Civil War ended that way – but on the other hand, I do think Marvel have played it a bit too safe in the characterisation of Strange himself. At the beginning of the film, at least, he is wise-cracking and self-centred in exactly the way Robert Downey Jr was at the beginning of the first Iron Man, to the extent where they almost seem like the same character. I wouldn’t be surprised if the studio were attempting to position things so that Bellyhatch Cummerbund can take over as a mainstay of the series once Downey Jr’s salary requirements finally prove too exorbitant, but even so: for me this doesn’t excuse a scene where the traditionally reserved and courteous doctor calls an opponent a name for a body part which is not normally found in a medical textbook.

On the other hand, this film isn’t afraid to make some slightly eccentric choices, and I don’t just mean using a harpsichord on the soundtrack: there’s a very trippy sequence early on which seemed to me to be very faithful to the spirit of Ditko’s artwork, while the climax itself is considerably weirder than anything comparable from other Marvel movies. The film is well played by a strong cast and visually very striking, rather skilfully repurposing some Inception-style visuals in a more traditional fantasy-adventure context. I can even just about forgive the decision to make much of Dr Strange’s sorcery look basically like CGI-enhanced kung fu. (Not all – by the end of the movie his ability to warp space and time is so developed that one wonders just how they will be able to meaningfully challenge him during future appearances, although as mentioned this is a problem with the comics version of the character too.)

Once again – and by the hoary hosts of Hoggoth, how do they keep doing it?!? – Marvel have produced a movie which is very comfortable with its own identity while meshing seamlessly with their wider franchise – although, to be honest, the rest of the world is kept in abeyance, at least until the closing credits. Dr Strange looks like being an engaging addition to the ensemble, and I’m looking forward to seeing Clumsylatch Bandicoot spar with some of the more established faces of the series. No one in the world is making more consistently entertaining and accomplished genre movies at the moment – Doctor Strange won’t change your life, but I suspect you’ll have a good time watching it. A good adaptation of a challenging book.

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