Just saying that Lawless reminds me of “Xena the Warrior Princess” and Paul Gross although yes, the new title is tone-setting and concise. The Wettest County, the movie’s previous title sounds like something bucolic.
I first got wind of this new title change from The Playlist, who also posted a photo and general information about the movie’s casting, implying that Jessica Chastain will no longer share the screen with Take Shelter star, Michael Shannon. The movie is set in Franklin County, Virginia during the Great Depression and centres around three moonshining brothers played by Tom Hardy, Shia Labeouf and Jason Clarke, providing great man candy for viewers like us. Also starring in the movie are Gary Oldman, Guy Pearce, Jessica Chastain, Mia Wasikowska and Dane DeHaan, the latter of whom you might know from Chronicle (still haven’t seen it, unfortunately) but I know from the period-indie foreign drama Amigo. I’m also hoping that Chastain’s role is enough to get her an Oscar nomination. Lawless’ release date is on August the 31st which means it will definitely not première at the Toronto International Film Festival, but any sign of a decent movie before fall is good enough for me.
I really need to start Entertainment Weekly more.
The new movie adaptation of veteran spy novelist John le Carre‘s Tinker, Tailor, Soldier, Spy feels a bit quiet but that wouldn’t be a surprise because of its director, Tomas Alfredson, who made a vampire movie look sanitized. Although instead of snow and tiles painted with blood, he brings the same craftsmanship to London and Istanbul circa 1973. Unlike the more casual 1979 BBC miniseries, Alfredson and crew have the burden of making the movie feel distant from contemporary times. Old wooden furniture, soot-stained marble and stone buildings, MI-6 employees wearing sepia tone double-breasted vests, typing on dull green computer prototypes. I have a few issues with the tone, like the soundtrack in the beginning and the shadows on the actors faces but nonetheless, its’ an exercise in style in the best of ways, the formalism appealing because everything’s so toned and filed down, like a dull but blunt object.
Control (John Hurt) sends Jim Prideaux (Mark Strong) down to Budapest to get a codename of a mole who has been in the MI6 – nicknamed ‘The Circus’ – for years. The set-up goes awry and Jim dies. To redeem themselves from national embarrassment, Cabinet Secretary Sir Oliver Lacon (Simon McBurney) enlists someone from the ‘outside,’ cuckolded and ousted agent George Smiley (Gary Oldman) to pick up where Jim has left off. George differs in his approach to the matter, he’s not trying to lure some field agent overseas. Instead he looks within the agency, its paperwork and interviews of ex-employees, convinced that the double agent would try, and fail to cover his tracks at home.
This movie is the epitome of boy’s club but in the best of ways, as the story lets us into the group’s fracking façade. The infighting, as these middle-aged Received Pronunciation speakers bellow about how authentic each other’s stolen information are and the sources from which these files are produced. They end up accusing each other of being too old, too much of a wild card or too paranoid, leading to some dismissals from the agency. The next step, of course, is for Smiley and other agents to spy on each other. One of the circus’ mostly deluded yet loyal members is a woman, Connie Sachs (Kathy Burke). When Smiley ends her interview, she waves, saying along the lines of ‘If it’s bad, don’t come back to let me know.’
Loyalty is the biggest conundrum here. It lacks the showy-er elements of contemporary spy movies which is a deterrent for some audiences. However, the MI-6 of the 1970’s doesn’t need muscular action against its enemies and neither do their battles involve a weapon that can kill them all. They live in a world where agents cross the Cold War’s already fluid lines. This betrayal is sickening and perplexing enough to these characters although thankfully, George and his rogue allies are jaded enough not to fight while brandishing Connie’s blind patriotism.
I’m on the fence here – the more time elapses between that surprisingly exhilarating last shot makes everything else seem more like a passing flavour. Like an experience that immerse its audience then just as gradually lets them go. A few things stay with me, like Tom Hardy’s performance as footman Ricky Tarr, that burly man reintroducing himself and his voice as a wounded stray. Or Colin Firth’s modest expressions as Bill Haydon. The zoom-outs between two pillars as dread-inducing jet fighters fly through European skies and another one from Control hearing about Jim’s death. And the slow motion sequence in the conference room with Control’s suspects, Tinker – Percy Alleline (Toby Jones), Tailor – Haydon, Soldier – Bland (Ciaran Hinds) and Poorman – Esterhase (David Dencik). The pipe smoke lifting from their faces, their eyes mockingly looking at George the Spy, Control’s oblivious fifth suspect. Good movies are one that twists the mind.
Luc Besson‘s Leon: The Professional is part of the ‘wave’ of crime movies from the mid-to-late 90’s that I’m hesitant to (re)visit because of its violent fan boy reputation. Though it’s respectably well-shot in the beginning, especially in its first cleaning – or assassination – scene perpetrated by its quick eponymous hero (Jean Reno). Although he’s a physically trained man in his forties, he’s also meek, childlike and his self-imposed isolation – in New York City nonetheless – doesn’t help in ironing out his quirks. And you know he’s lonely because there’s nondiagetic European accordion music in the background trying to get empathy out of the audience, exposing how dated and uneven this film’s tone could be.
Next door to Leon’s apartment is Mathilda (Natalie Portman, living with an abusive family situation. Buying groceries for herself and volunteering to buy Leon’s two quarts of milk, she arrives too late for her family’s massacre by the corrupt DEA officer Stansfield (campy Gary Oldman). The street-smart girl ignores the thugs bringing the bloodshed walks forward to Leon’s apartment, persistently asking to be let in while ringing the doorbell and crying. Leon finally relents, white light shining on her face, bringing the film’s first redeemable moment. This is one of the moments in the film that remind us of the way her face strongly evinces emotion in her future movies as an adult. She’s also intense when she attacks her violent or sexual lines with determination, smoothness and an uncanny maturity.
After opening the door for her, Mathilda gives Leon an ultimatum to let her live with him teach her how to clean, threatening him with her alternative – death in the hands of Stansfield. But in a way, entering his apartment is equally an ultimatum for her, feeling a nix of Freudian resentment towards her new father figure and his closed-up, workaholic, machine-like nature. Fortunately, she elbows her own version of childhood naiveté, allocating some well-needed play-time in their routine. They squirt each other with water or impersonating pop-culture icons, finally makes us understand that this movie is like what would happen if Jacques Tati directed an action film. And then the guns go satisfying blazing.
- Clip joint: tearjerkers (guardian.co.uk)