The Iron Lady: Review of Atomic Blonde

Atomic Blonde

Director: David Leitch

By Alex Watson

There are few actresses on the planet better at kicking ass than Charlize Theron. Set against a thumping 80's soundtrack, Atomic Blonde is a gloriously pompous ride with a heroine to die for. Referred to as the female version of John Wick, director David Leitch (also John Wick's co-director) brings an effortless cool to proceedings. While the story might falter slightly during a lopsided third act, the entertainment factor never once goes below thrilling.

In 1989 Lorraine Broughton (Charlize Theron) is a British MI6 agent sent to Berlin to investigate the murder of a British agent by KGB. In the last days before the Berlin Wall falls, the city is ripe with corruption and murder. Forced to work with dishevelled agent David Percival (James McAvoy), Broughton must work hard to get back a vital list of double agents that has gone missing. If KGB gets their hands on it, it will mean a cold war extension.

Despite its setting during the final days of the Cold War, Leitch doesn't overload the story with political themes. Atomic Blonde is a wonderfully straight forward story of revenge, Broughton is a cunning heroine from the very beginning. Secretly mourning the death of her lover and fellow agent. This trip is as much about getting square as it is neutralizing the threat. Watching her crawl out of a bathtub of ice cubes covered in bruises gives only a hint of what she is capable of. Jumping back and forth from an interrogation with her superior Eric Gray (Toby Jones) and shady CIA man Emmett Kurzfield (John Goodman), we learn quickly that she is an unreliable narrator. However, she is also a sleek and ruthless killer who can also put on the charm in a heartbeat. In short, this is one compelling lady who can break bones and hearts in equal measure.

Percival is an operative who brings his own set of problems. An MI6 golden boy gone wrong, he is a continually hungover liability with 'bad Sinead O'Connor hair'. His agenda is to simply make money and swimming between East and West Berlin has him frequently dodging bullets. Also on the horizon are French operative Delphine (Sofia Boutella), who takes a romantic interest in Lorraine. The first half of Leitch's movie is all about fine tuning, but his style is very fluid and stylish one and this benefits the movie greatly. Along with Lorraine's ruthless and sexy edge, the film glides along on rails. Set in a cold and frozen Berlin, the danger she faces is well portrayed. Any one of the allies she makes could double cross her in the blink of an eye. Berlin is a city where rules have long since departed and every man and women are for themselves. Leitch's set piece direction, in particular, shines brightly, especially during an ambitious 8 minute one take fight scene. A ferocious display of punches, kicks and bullets- Lorraine is like a caged animal released as she fights against a multitude of enemies. Leitch follows this up with a breathless car chase in reverse- this is an early candidate for scene of the year.

What holds back Atomic Blonde is its writing because although the story is free of any needlessly long explanations, there are also too many unanswered questions. Lorraine is a ballsy character but certain elements to her character are left unexplained, likewise Percival and his descent into black marketing. Writer Kurt Johnstad seems to go for a level of intelligence the movie just doesn't have and the frequent twists and turns become unbearable towards the end. While for the most part, this is a well-polished affair, there are still specks that need cleaning up. When you have been given a rip-roaring ride like Leitch's movie, such errors are easily forgiven.

Charlize Theron proves she is Hollywood's main lady when it comes to playing tough female leads. Her Lorraine has a wonderful sly touch to her and the sheer amount of layers Theron adds are astounding. Morally ambiguous from the get-go, Theron turns in a multi talented performance that is as sexy as it is cutthroat. Lorraine might not have the same strength as Furiosa but she is every bit as tough. McAvoy is able to match his A-list co-star with a sneaky and slimy performance as Percival. The Scottish actor keeps this character's intentions secret throughout and it's a supporting turn that is always evolving.

Atomic Blonde provides cinema with the best female heroine of 2017 and is a movie to just sit back and enjoy- just try not to ask too many questions.

Ape-A-Popping: Review of Kong:Skull Island

Kong: Skull Island

Director: Jordan Vogt-Roberts

By Alex Watson

As Warner Bros works its way towards an ultimate showdown between Kong and Godzilla- Kong: Skull Island makes for a decent start. While not as faithful or eye opening as Peter Jackson's most recent version, director Jordan Vogt-Roberts makes King Kong a real presence. Moving the action to the end of Vietnam war does work surprisingly well, but this movie is let down by some poorly written characters.

As Vietnam draws to a close, government official Bill Randa (John Goodman) leads an expedition to an uncharted island in the South Pacific. Randa believes this system contains creatures never seen by humanity. Along for the ride are tracker James Conrad (Tom Hiddleston), notable photographer Mason Weaver (Brie Larson) and Lt.Colonel Packard (Samuel L Jackson) whose Sky Devil's squad is providing escort. Once on the island, they will come face to face with one particularly large ape who is less than pleased with their arrival.

Although Kong: Skull Island provides thrills in abundance, it's also lacking in several areas too. Jordan Vogt-Roberts shows us a magnificent new Kong who from the moment he is introduced, chaos rains down. Ascending out of a hellish storm, the helicopters are greeted by a lush and breathtaking landscape. While they play their rock n roll music and carelessly drop their explosive  'scientific instruments' an ungodly sight will soon roam into view. Within moments of his arrival, the full force of Kong is unleashed. This eye-opening introduction is literally like watching the wrath of God and the movie revealing its trump early is a very smart move. This Kong comes off as the deepest personality in this jungle after his real motives are revealed. Vogt-Roberts also literally makes him bigger than ever before. Protecting his realm with a furious passion, this giant ape is one we definitely cheer for.

In this adventure, Kong is not the most dangerous creature lurking. Giant spiders, squids and gigantic insects are just a few of the threats that stand in their way. The biggest danger of all comes from the Skullcrawlers, an almost dinosaur-like creature whom Kong has been brawling with for years. Coming from deep beneath the earth, the human's arrival has lead to them being awakened and Kong becoming pissed! They may look innocuous at first but soon their threat is made clear. Vogt-Roberts' movie might be a glorified run through the jungle (Yes that Neil Young song does appear) but it makes the most of the thrills offered. This edge of your seat stuff makes this a better movie and anyone just wanting a dosage of dumb fun will feel right at home.

Packard's desire for revenge does add some colour to proceedings. Bloodthirsty after watching his men fall to Kong, he threatens everyone's chance of survival. Vogt-Roberts does well to cling to the B-movie origins in the movie's final third and there is a pure joy watching him scrap with Skullcrawlers. Although it lacks the depth and emotion of Peter Jackson's version, it isn't any less entertaining. This picture is merely a warm-up act for the main act and once WB and Legendary get there, that's when things get interesting. Kong: Skull Island might have some misfires, but it is nonetheless still a solid piece of work and the big ape has never looked better.

Part of the issue with this movie is that the characters on display are rather drab. Conrad is an ex-SAS soldier who spends the movie just making plans.Tom Hiddleston has a great presence but is given little to work with.  Brie Larson's Weaver is a character clearly meant to fill the old Fay Wray mould, but instead merely comes off as blank and uninteresting. Samuel L Jackson comes off as the movies strong link as after the death of several of his men turns him into a vengeful Captain Ahab figure. Marooned WWII veteran Frank Marlowe (John C Reilly) adds some needed comic relief to proceedings and his guidance proves key to survival throughout.

Kong: Skull Island might be lacking a few key areas but for sheer enjoyment, it is a great start. Sit back and enjoy Kong, nothing else required.

Boston Strong: Review of Patriots Day

Patriots Day

Director: Peter Berg

by Alex Watson

The devastation caused by the 2013 Boston Marathon Bombing is brought painstakingly to life by Peter Berg. Patriots Day is a movie bolstered by an excellent cast who reflect the horrors witnessed and how a city attempts to rise again. Tobias Schliessler's jittery photography makes our nerves twitch even before the explosion hits. Director Peter Berg's pacing of the story and research of the 4-day manhunt that ensued is excellent. Boston Strong rings true in this picture and the courage displayed is a fitting tribute.

Sgt. Tommy Saunders (Mark Wahlberg) is positioned at the finish line of the 2013 Boston Marathon. When a series of explosions happen, he and the Boston Police are faced with a frightening scenario. Forced to surrender control to FBI agent Richard Deslauriers, Saunders along with Police Commissioner Ed Davis (John Goodman) search high and low for the culprit. Meanwhile, a series of unrelated characters such as Watertown Sergeant Jeffrey Pugliese (J.K Simmons), Chinese entrepreneur Dun Meng (Jimmy Yang) and MIT Security guard Sean Collier (Jake Picking) will find themselves facing life changing moments.

 From the first frame of Patriots Day, there is an eerie sense of dread lurking. Watching characters waking up bright and happy and going about their daily routines only intensifies the devastation. Tommy Saunders is a man who is working his way back into the good books of the Police, but agreeing to wear the 'clown vest' at the marathon. Situated mere yards away, Berg makes feel the full effect when the two pressure cooker bombs detonate. Saunders despite his leg injury has to act fast and he sees first hand how a peaceful day has turned into hell on earth. The bombs were placed at ground level, so many people have had their limbs blown clean off. Saunders and co are forced to take control quickly and it is in the moment we feel a strength setting in. We all know this moment is coming- the fact we sit powerless to prevent is what really shakes us. Seeing happy couples like Jessica Kensky (Rachel Brosnahan) and Patrick Downes (Christopher O'Shea) clinging to their lives is bound to hit the spot.

The aftermath is like a whirlwind and Berg rarely pauses for breath as the manhunt goes forward. Both Davis and Deslauriers bicker about whether or not to release pictures of their suspected subjects? One area where the movie both rises and falls in the depiction of bombers Tamerlan and Dzhokar Tsarnaev (Themo Melikidze and Alex Wolff). Presented as your ordinary pair of quarrelling brothers, Berg is careful not trespass into overblown and cliche territory. One of the harder aspects of this picture, it deserves credit for being so underplayed and the believability of the performances. The brothers are responsible for arguably the pictures most tense sequence when Dun Meng finds himself carjacked. This one act alone brings us further into their subconscious and their casual approach to more possible mayhem is utterly chilling. The women in this picture aren't given quite the same fair shake, Carol Saunders (Michelle Monaghan) is given little to work with other than look supportive. However, Melissa Benoist gets a powerful scene as Tamerlan's committed wife Katherine Russell.

We can feel their desperation setting in as the police cling to all possible clues. Pugliese emerges as pictures real hero as he heroically stands up to pipe bombs during an explosion filled final act. The ordinary officer pushed into the line of duty, not once does he flinch. Saunders is a character who is made out to be the main man of the piece when in reality he is devoted side character. Berg's praise and commitment in showing the courage and sacrifice of all Boston citizens make each character heroic. Security Guard Collier was murdered in his car for refusing to surrender his gun to the bombers. From the governor declaring marshal law to Dun Meng's display of impulsive bravery, every person is doing their bit.  Patriots Day is not just about a city recovering, it is a film about people standing up and being counted. David Gordon Green's companion piece 'Stronger' also debuts in 2017, it will be tough to raise Berg's efforts.

Mark Wahlberg might be first billed as Tommy Saunders but he is by no means the main star. While his impassioned performance might impress in some areas, in others he falls flat. Wahlberg is used to this type of brave role, but Tommy is not always likeable. His whining of Deslauriers taking charge makes out him out to be an insufferable brat. J.K Simmons provides excellent support as Pugliese and he ably defines his cool under pressure as he willing goes up against the brothers. Kevin Bacon and John Goodman are drastically underused as the respective head law figures. Alex Wolff and Themo Melikidze both measure their performances well as the Tsarnaev brothers. Wolff is particular is excellent as the younger more youthful obnoxious sibling.

Patriots Day is a movie that exemplifies a cities struggle but also shows the gritty determination Boston showed trying to heal. Made with a lot of affection, if more blockbusters can show this type of heart it is a very good sign indeed.

Deeper Underground: Review of 10 Cloverfield Lane

10 Cloverfield Lane

Director: Dan Trachtenberg

By Alex Watson

Many had no idea that 10 Cloverfield Lane was even coming until a surprise trailer was revealed early in 2016. Many previously had expected another found footage picture with more people running from the monster. Well, this picture may have been a shock but doing it as a straight story bring us one of the tensest movies of the year. Refusing to just provide outright scares, debut director Dan Trachtenberg, and producer JJ Abrams make the unknown a far more frightening concept.

Fleeing from a relationship in New Orleans, Michelle (Mary Elizabeth Winstead) is involved in a horrific car accident. When she awakens she finds herself in a fallout bunker owned by Howard (John Goodman) who tells her that the world is under attack. Recuperating and also fearing for her life, Michelle becomes acquainted with the other male taking residence Emmett (John Gallagher Jr). Has the world gone to hell? Or is something far more sinister involved?

In spirit 10 Cloverfield Lane is a successor to its predecessor but it also succeeds by itself as a genuinely unnerving and smart thriller. A more up close and smaller effort than Cloverfield, the use of limited special effects is a wise one as they allow the story to be the selling point. Trachtenberg makes good use of silence as Michelle wordlessly leaves her relationship with her ex (voiced by a famous A-lister). Driving into the dark night, the moment her car crash occurs it has a big jump factor. Waking up in an empty room hooked up to a drip, Howard's introduction is a booming and ambiguous one as he bluntly informs her "No one out there is looking for you!" The opening act is all about Howard being elusive with information and it only when Michelle attempts an ill-advised escape it becomes apparent not all is right.

The ambiguity is that drives this picture, is Howard really telling the truth? Or is he just some conspiracy nut who has driven over the edge? At first, we assume that there is no physical danger and generally this guy wants to protect them. However, when certain red herring rear their head Trachtenberg fills the air with a wonderful unease. Seeing Michelle crawl through vents is surprisingly claustrophobic, particularly as it leads to revealing something that suggests she might not have been the first woman to share this bunker. Emmett is a reluctant participant in all this who goes from being thankful for shelter to finally agreeing there is something shady about Howard's past.

A third act hiccup is a forgivable mistake because it does lead to shocking yet expected outcome. This post is a spoiler free land so my advice is to learn as a little as possible and to make up your own mind. In the bunker things reach boiling point in a magnificent way as all suspicions and frustrations come to a head. Howard throughout has been a hulking and ticking time bomb and when he explodes it is quietly terrifying. Michelle is a well-written heroine and watching her use her brain in the third act gives her a strength we didn't think possible. There is no monster destroying towns in its wake and no Statue of Liberty head flying into sight. Keeping things low key gives Trachtenberg's picture a more cold and biting feel.

Mary Elizabeth Winstead gives a fine performance which the film builds itself around. Going through every emotion in the spectrum, Winstead is both mesmerizing at her most frightened and gutsy when called upon. Michelle is an example how female characters are beginning to anchor these types of films and we hope to see her back. John Goodman gives one of his most showy and cold-blooded turns as Howard. Those who are used to him in his cuddly family roles such as The Flintstones might be in for a shock. Fans of Barton Fink will know precisely how much can turn up the creepy factor on command!

10 Cloverfield Lane is a great surprise and firmly pushes most Trachtenberg and Winstead into the light. Sequels are already being discussed, for once I hope these two come back for seconds.

The Blacklist: Review of Trumbo

Trumbo

Director: Jay Roach

By Alex Watson

Although it doesn't quite grasp its subject quite like we hoped, Jay Roach's Trumbo still brings a fine and ambitious turn from Bryan Cranston. Dalton Trumbo's blacklist during the McCarthy trials was a notable event in Hollywood because it led to one of its true greats being shunned. Roach effectively nails the man well but although this a slick and polished piece, it never thrills us like it should.

Screenwriter Dalton Trumbo has just become Hollywood's high paid writer, he is also a long-time campaigner for more pay for studio workers. During the McCarthy trials, his communist beliefs see him blacklisted and jailed along with nine other writers including Arlen Hird (Louis CK). Desperate to make a living, Trumbo will be forced to write scripts under false names in order to make a living.

Trumbo is a movie where Jay Roach wants to combine both fun and serious together. Dalton Trumbo is a man of great eccentricities such as his long cigarette holder and writing whilst in the bathtub, His biggest vice though is his big mouth and despite the fact he is happily married to Cleo (an underused Diane Lane) he still believe his perfect US could be better. "You talk like a radical, but you live like a rich guy!" mentions Arlen at one stage to his friend. Trumbo lives off the Hollywood dime and has some big name friends such as Edward G Robinson (Michael Stuhlberg) but is quickly making enemies in the wrong places. Anti-commie columnist Hedda Hopper (Helen Mirren) is one who wants him sent down the river. Early we see a clash of ideas between Trumbo and John Wayne where he respond to Duke's challenge about World War II "If you're going to talk about World War II as if you personally won it, let me be clear where you were stationed- on a film set!"

His subsequent trial for his communist beliefs sees him risking everything to protect his beliefs. Being called out before the committee sees Dalton simply playing a game and daring his nine other friends to do the same. Friendships are tested, particularly when his friend Robinson crumbles and names people. John McNamara's script calls out Hollywood on one of its darkest periods, but we never really feel the full effect. Forced to churn out B-movie scripts for lousy pay, rather feeling down the man gets creative. During his long banning from the Hollywood scene, he will write such Oscar winners as Roman Holiday which friend Ian McKellen-Hunter (Alan Tudyk) is credited for. Linking up with shady executive Frank King (John Goodman) is where the movie does have its funny moments. King mass produces forgettable pictures, which coincidentally have lots of writing jobs available for banned writers.

There is a great sense of injustice throughout Trumbo that his banning went on for so long (Trumbo wasn't credited with his Oscar win until 2011). Despite some neat direction from Roach, this picture cannot grab our attention like it should. It's the uneven mix of comedy and drama are one are which makes it fall down. His relationship with his suffering family is one area that feels underdeveloped along with his friendships with his nine other comrades. Trumbo's later revival under such important stars such as Kirk Douglas (Dean O'Gorman) and the hilarious Otto Preminger (Christian Barkel) do warm the heart because he was finally credited for the movie Spartacus. Though impressively we feel the sacrifice that the man makes, especially during his final scene when accepting an award. In one speech his denounces the blacklist and powerfully denounces those who compromised their beliefs.

Bryan Cranston at long last makes the transition across to big screen star and as Dalton Trumbo, he exemplifies the brave stand that this man took. Demonstrating a keen wit along with a heavily plagued conscience, Cranston is the glue that holds the picture together. Truly now, he is the who knocks. Helen Mirren is memorably nasty as the glamorous columnist, Heddy Hopper and is able to turn from charmingly cute to the wicked witch in an instant. John Goodman is also scene-stealing in a brief role as Frank King and watching him respond to Hollywood intimidation with a baseball bat is pure funny "You wanna call me a pinko in the papers? Do it, none of the people go to my fucking movies can read!"

Trumbo was left off the majority of the big Oscar nominations because even though this is well produced film, its lack of depth is obvious. Cranston alone is one reason to see this picture, but this is also a heavy reminder of just how Hollywood got it wrong.