Reviewer: Chris Haydon
Director: Spike Lee
Starring: Nick Cannon, Teyonah Parris, Wesley Snipes, John Cusack, Samuel L. Jackson, Dave Chappelle, Jennifer Hudson & Angela Bassett
Release Date: 2nd December 2016 (UK)
Spike Lee’s Chi-Raq is a shot of pure energy. A ballistic, hyper-aggressive and high-concept presentation of gang violence and oppression, feverishly played with soul and swagger. In any other hands it would likely feel cloying and preachy, but the veteran auteur maintains a fierce grip; enabling his latest to share equal bark and bite.
A modernised retelling of ancient Greek play Lysistrata by Aristophanes, Chi-Raq swaps togas for urban camo, and trades in the Parthenon for Southside Chicago; a land commanded by black-on-black violence, poverty and macho misogyny. In a bid to collapse the senseless cycle of crime and misery, confident and lusty Lysistrata (Teyonah Parris – the breakout star of Dear White People) hatches a cunning plan. The girlfriend of hip-hop heavyweight and gang leader ‘Chi-Raq’ (Nick Cannon), Lysistrata convinces her fellow females to abstain from any sexual activity with their men until they can learn to behave: no peace, no piece.
Legendary performer Samuel L. Jackson serves as a postmodern Greek chorus named Dolmedes – complete with blaxploitation-worthy pimp suits – here, and early on turns to the audience, explaining that to honour Aristophanes, the story will be delivered in rhyme. It is a thunderously unique manner in which to convey narrative. Characters speak largely in loose, janky poetry, with rhythms that vary between Shakespearian couplets, freestyle-rap battle verse, and slam-poetry riffing.
Lee’s film arrives at the BFI London Film Festival with remarkable urgency. It is a frenentic prayer, a call to arms; gun violence and inner-city crime is a disease that continues to plague, and a vaccine must be devised. Expertly blending genre and thematic tone, Chi-Raq is able to be both vital and arresting contextually, yet explosively entertaining and enveloping cinematically. Despite the harsh realness, this is a brazenly funny, seductively slick motion picture; one ravishingly textured and populated by memorable characters.
Parris in particular spellbinds. She struts through scenes with infinite power and prowess, ensuring your attention is fixated on her every movement and motion. She evokes sexuality and stamina, and her interplay with the cavalcade of high-calibre co-stars – John Cusack, Jennifer Hudson, Dave Chappelle, Wesley Snipes – to name but a few, is most impressive. Cannon is equally excellent, and thrives in the film’s titanic musical sequences. His spits bars with venom and humanity, as if he really is feeling the verses he’s reciting, and the effect is strikingly potent.
Perhaps Chi-Raq‘s finest brushstroke however is the representation of this weathered land. Despite Chicago being alive with warfare and chaos, Lee ensures it looks more like an idealistic battleground as opposed to a tourist’s nightmare. There is much blood on these streets, but equally hope and opportunity, too.
After a number of incidental works, it is a sheer pleasure to have Lee back in rhythm again, and his latest moves to an unmistakably original beat.
Hotel Artemis ★★★
Released: 20th July 2018
Directed By: Drew Pearce
Starring: Jodie Foster, Charlie Day, Sofia Boutella
Reviewed By: Van Connor
Iron Man 3 alum Drew Pearce makes his feature directorial debut with this slick future-set actioner – evoking the neon-tinged hyperbolic aesthetic of John Wick and applying it to a more stripped-down set-up akin to Joe Carnahan’s strangely forgotten Smoking Aces. Hotel Artemis sees the eponymous underworld hospital of the future come under siege by forces both outside and in, with a who’s-who of “hey – it’s….!” figures to bring its gleefully vitriolic war well and truly to life.
On Pearce’s part, Hotel Artemis knows its own playbook pretty well – tense action beats are played with coherence but don’t skimp on imagination, and the staging of it all is first rate. Jodie Foster, meanwhile, leads an engaging cast that includes a wonderfully sleazy Charlie Day, the brilliantly deadpan Sterling K. Brown, and an amusingly in-her-comfort-zone Sofia Boutella. It’s best to keep as much of its casting a surprise as possible, but there’s tons of fun to be had via mere cast reveals to keep proceedings engaging.
On the action front, though, it is strange that Hotel Artemis feels as subdued as it does as regards its own sense of internal rage. Whilst far from a bloodless PG-13, Pearce’s film never quite embeds itself as much in the hyperviolence of its world as you’d expect, or, rather, hope. It’s certainly no John Wick in that sense, and, though there is a decent share of world-building to kick things off, it’s quickly evident that this element of restraint is self-imposed by Pearce’s writing, rather than a by-product of now requisite franchise-creation. Hotel Artemis, incidentally, could easily garner itself a cheap and cheerful sequel or two, were there somehow a demand.
On the back of this pretty solid ninety minute actioner, that’s absolutely a consideration. The world it builds is fleshed out enough to intrigue, the cast are game for an intriguing balance of quirk and creepiness, and Pearce steps up to the director’s chair with unbroken confidence and a comic book sensibility that takes him deftly to the finish line. Stoker cinematographer Chung-hoon Chung astonishes as ever, and, while not his showiest work to date, Cliff Martinez’s score fleshes out the bonkers world of Hotel Artemis nicely.
Best aimed at those looking for another round of Smoking Aces-grade action – though, without quite the same singular ferocity – Hotel Artemis is a nice bit of bullet-laden fun with a lively cast and some slick visuals. It’ll never be one of the iconic points on the timeline of action cinema, but it’s a worthy stop-off on the way between the ones that are.
Mission Impossible: Fallout ★★★★★
Released: 25th July 2018
Directed By: Christopher McQuarrie
Starring: Tom Cruise, Rebecca Ferguson, Henry Cavill, Michelle Monaghan, Simon Pegg, Ving Rhames, Sean Harris, Angela Bassett
Reviewed By: Darryl Griffiths
‘What the hell is he doing!? I find it best not to look.’
Rebecca Ferguson. You’re certainly not alone in questioning the thought process of a man seemingly gunning to be ‘The Greatest Stuntman’. Another one Mr Cruise? I imagine his reply is Never Enough. Never. Never.
22 years and six instalments in. Facing stiff competition from Bond, Bourne and a plethora of comicbook darlings along the way. This particular Tom has continued to be a marvel, risking life and limb to give us the adrenaline-pumping thrills we crave, admirably relying on old-school practicality instead of the obligatory CGI bombast we modern cinemagoers have grown accustomed to.
Previous instalment ‘Rogue Nation’ boasted an elegant operatic set-piece in Vienna, with returning (a first for the series) director Christopher McQuarrie masterfully pulling the strings in the background. Well imagine ‘Mission Impossible: Fallout’ as a grandiose death-defying symphony, that could easily leave you breathless in the front row, never mind the upper tiers of this cinematic arena.
Whilst consistent in its entertainment value. It could be argued these films haven’t dug deep enough into the psyche of IMF’s main man. McQuarrie is quick to remedy this right from the outset as a pulsating plutonium power struggle ensues, with Ethan Hunt (Cruise) still reeling from his encounters with Solomon Lane (Sean Harris), the latter a mere pawn now in the eyes of a terrorist organisation called the Apostles.
Trust in Ethan’s methods diminishing with the addition of CIA superior Erica Sloane (Angela Bassett) who compares him to a scalpel, she introduces a ‘hammer’ to the situation in the form of August Walker (Henry Cavill), who is tasked with assisting Hunt and his usual suspects Benji (Simon Pegg) and Luther (Ving Rhames) in preventing further global atrocities. Interrogation? Not for this Man Of Steel.
Intertwining plot threads left dangling by its predecessors to layer its absorbing narrative, with Michelle Monaghan’s love interest Julia a notable inclusion. McQuarrie truly allows the audience to become emotionally attached to these characters this time around beyond the wisecracks and gadgetry, which only serves to fuel the tension and raise the stakes of its balletic action choreography. Playing a lead protagonist who can easily be perceived to be indestructible up to now. The moral angst that engulfs Cruise’s Hunt is refreshing, as his unwavering loyalty to his fellow field agents is deemed a weakness in achieving their intended objective.
Only for this aspect to be amplified by the compelling complexity of Rebecca Ferguson’s Ilsa Faust who returns with her own agenda, remaining appreciative of Hunt’s relentless nature to complete a mission by any means necessary, with one particular Paris stand-off utterly engrossing. Whilst Sean Harris’ Solomon Lane continues to favour chilling prose, it’s a joy to finally see Henry Cavill utilised in a blockbuster effectively as August Walker, a bruising no-nonsense adversary whose reloading arms prove a worthy match for Hunt.
Yet for all its superior characterisation. Mission Impossible would amount to little without its enthralling stunts, with the film gleefully looking to out-do the previous set-piece throughout its running time, only to succeed in jaw-dropping style. From heart-stopping halo jumps at 25,000 feet to a heady helicopter chase that made me audibly gasp at its sheer audacity, McQuarrie’s dizzying camerawork and respectful capture of its sleek locations as we witness Cruise’s crazy antics close-up, is as pure as popcorn cinema gets.
‘Fallout? With this franchise? I suspect that thought will self-destruct in five seconds once you clap eyes on this outing. An astonishing genre offering in its own right, in a series that continues to evolve in exhilarating fashion.
Humans Series 2 Episode 3 Review
The intricately-spun web that is Channel 4’s sci-fi drama Humans continues to prove that no matter how widely disbanded your characters may be, their individual stories can be compellingly and purposefully told. As the rippling war arc between man and machine gently settled, we experienced a third hour committed to evoking powerful surges of poignancy instead. We’ve said before that for a show about robotics, Humans has a serious amount of heart, and this episode showcased as such.
Reserving the visceral action we’ve all come to love, showrunners Sam Vincent and Jonathan Brackley hand writing duties to Charlie Covell and Iain Weatherby for this intimate tapestry of emotion. We open and exit with duel scenes focused around Carrie-Anne Moss’ scientist Athena Morrow whose relationship with artificial intelligence system “V” is significantly deeper rooted than you might expect. It becomes clear that “V” is actually a sentient software lifted from her daughter Ginny who is paralysed and requires full-time life support.
Elsewhere Mia (Gemma Chan) is struggling to get past her encounter with café owner Ed (Sam Palladio) because her feelings for him go much further than colleagues. Despite clear warnings from Colin Morgan’s Leo that she’ll be rejected, that their isn’t a chance that a human being could really accept her for who she is, Mia follows her heart. Her core sequence with Ed on the rustic, wintery beach where she declares her emotional investment is skilful and beautiful. Chan enables the exchange to feel distinctly robotic and somewhat detached, yet entirely meaningful and romantic. Whilst “love” might be currently void from the synth vocabulary, Mia explains that Ed makes everything “more” for her; heightening her senses, mood and value. One personally is excited to see how this relationship will blossom, even though it is enviable that bad things are en route for the couple. The scene is ravishingly shot, too; just like the entirety of Humans, really. Subtle symmetry in frame and a textured, nuanced colour palette made for a eye-watering moment.
The central dramatic narrative in episode three centred around Emily Berrington’s volatile and rogue synth Niska who undergoes extensive testing orchestrated by the courts in order to determine whether she committed an act of murder because she is sentient, or merely malfunctioned. Either way, she will face consequences for these actions, but Niska’s endgame goes far beyond the cold iron bars of a prison cell. Her attorney Laura (Katherine Parkinson) – “the finest synth legal rights lawyer in the world” as husband Joe (Tom Goodman-Hill) jokes – is onsite as Niska is subjected to an array of sensory examination – poking her until she reacts. She is screened looping video footage and music in the hopes that it’ll evoke some kind of human response; that she can really feel.
Answers arrive when the audio-visual barrage seizes and Laura takes the microphone. Asking probing questions about the night in which she killed Andrew Graham, Niska’s responses are both profound and heart-wrenching. Expressing her bottled feelings through a vice, she unfolds. “He was going to rape me – I was scared…My whole life was being scared, being hurt, being angry. Sometimes things become too much for anyone, don’t they?” It is a huge credit to Berrington’s impeccable performance that she is able to remain such stoic and controlled posture – barely furrowing a brow or snatching a blink – even when reciting dialogue with as much sorrow and pain as this. Throughout the entire episode, Berrington’s impossibly still exterior commands, but to be able to see this crushing wave of anguish surging behind a vacant façade is mightily impressive.
Equally brilliant – albeit slight in screen-time – is the layered relationship between Leo and Ivanno Jeremiah’s Max. As Mia exits and the foursome become three (they are still unaware of Hester’s [Sonya Cassidy] antics last week…), a sense of leadership balance has lost footing. Leo looks to the ever-wise Max for support, and Max looks to the ever-focused Leo for a plan. Together they work perfectly, but Hester is the spanner in the inner-workings of their partnership as she requires a figure to follow: human or synthetic. Morgan’s ferocious dialogue delivery shows his action-oreitnated mindset; leave immediately, keep moving, find new shelter, protect sentient synths. Meanwhile Jeremiah’s patience favours thought and recollection; letting their captive go free, embracing and understanding Mia’s decision as opposed to rejecting it. How this demographic will alter in future weeks remains to be seen, but we are expecting serious fireworks.
Other highlights from this third hour included a sour turn for Ruth Bradley’s synth-in-disguise Karen, whose inner lining bag splits after an evening out with her policing co-workers, leading to disastrous consequences. Her relationship with Neil Maskell’s Pete is already fractured as it is, but now developments are bound to get uglier. Also, Lucy Carless’ all-tech Mattie uploads the Elster coding to D-Series unit Odi (Will Tudor) who amazingly responds, albeit clumsily and confusingly so. Tudor’s whirring, robotic performance is excellent, and it is really pleasing for fans to have Odi back in business.
No matter how scattershot the cast may be, and no matter how many heavy themes and tonal shades Humans may convey, everyone pulls their weight here. The collective ensemble is exemplary and this series continues to go from strength-to-strength. There is little doubt that as of this third episode, Channel 4’s offering is the most essential show on British television today.
Zachary Levi Is ‘Shazam!’ In Official Teaser Trailer
Fantastical Debut Trailer For ‘Aquaman’ Welcomes You To Atlantis
First ‘Godzilla: King Of The Monsters’ Trailer Is An Atomic Blast
Official Comic-Con Trailer For ‘Fantastic Beasts: The Crimes Of Grindelwald’
A Look Inside ‘Mortal Engines’ Feature
Meryl Streep’s 21 Academy Award Nominations
The Game of Poker in James Bond Films
MM Supports: You Are My Sunshine
MM Supports: Violent Lines
Cannes 2018 Spotlight: Marcello Fonte Wins Best Actor For ‘Dogman’ Performance
News4 days ago
Lin-Manuel Miranda To Make His Directorial Debut With ‘Tick, Tick… Boom!’
Featured Review3 days ago
Hotel Artemis ★★★
News5 days ago
It’s Paratroopers Versus Nazi Zombies in ‘Overlord’ Trailer
News2 days ago
First ‘Godzilla: King Of The Monsters’ Trailer Is An Atomic Blast
News5 days ago
New ‘Welcome To Marwen’ Trailer Is An Emotional Ride
News3 days ago
Latest Poster for ‘Fantastic Beasts: The Crimes of Grindelwald’ From SDCC
News5 days ago
Meg Ryan to be Honoured With 2018 Leopard Club Award at #Locarno71
News3 days ago
Director James Gunn Fired From ‘Guardians Of The Galaxy’ Over Offensive Tweets