Showing posts with label Stephen Rea. Show all posts
Showing posts with label Stephen Rea. Show all posts

Classic Movie Review The Crying Game

The Crying Game (1992) 

Directed by Neil Jordan 

Written by Neil Jordan 

Starring Stephen Rea, Jaye Davidson, Forrest Whitaker, Miranda Richardson

Release Date November 27th, 1992, February 1993 (Oscar Release) 

Published February 20th, 2023 

What stands out about Neil Jordan's The Crying Game 30 years later is how remarkably sensitive the film is. While the film's lasting legacy in popular culture centers on actor Jaye Davidson's penis, the actual film, The Crying Game centers on sensitivity, intimacy and tenderness while also providing elements of a thriller and a spy movie. Neil Jordan brings forward a gay love story in The Crying Game in a way that had arguably never been explored before in this way. Using a traditional thriller narrative about warring spies, guns, and murder, Jordan tells a love story about people who are struggling to find who they really are. 

Stephen Rea stars in The Crying Game as Fergus, a member of the Irish Republican Army. History, as told by the British, would call the IRA terrorists. I truly have no idea what the actual legacy of the IRA is and I don't see a necessity to unpack the IRA here. The IRA is basically the vehicle that brings Fergus into contact with Jody (Forrest Whitaker), a young British soldier who is captured in Ireland and held for ransom. If the British will release a member of the IRA they are holding prisoner, then Fergus and is his fellow IRA members will release Jody. 

Of course, Jody, and possibly Fergus, knows that Jody is going to die. The British do not negotiate with the IRA, they work to eliminate the IRA. Jody's only glimmer of hope comes in trying to convince Fergus to let him go. Thus begins a lengthy and intimate series of conversation over a three day period from Jody's kidnapping to the day the IRA plans to execute him. In this time, Jody and Fergus bond and writer-director Neil Jordan willfully layers in visual indicators that perhaps there is more than just friendly banter going on between these two seemingly very different men. 

Knowing that his dire fate is approaching, Jody gives Fergus his wallet and with it, a photo of the woman Jody loves. Her name is Dil (Jaye Davidson) and she's a hairdresser back in Jody's home town. Jody begs Fergus to go and look in on Dil if, indeed Jody dies. What happens next will lead Fergus to Dil and the start of another complicated, deeply fraught, but genuine love story. Of course, history tells us what complicates this romance but the movie itself, is far more than that one pop culture footnote. 

Find my full length review at Geeks.Media 



Movie Review Greta

Greta (2019) 

Directed by Neil Jordan 

Written by Ray Wright, Neil Jordan

Starring Chloe Grace Moretz, Isabelle Huppert, Maika Monroe, Colm Feore, Stephen Rea

Release Date March 1st, 2019

Published March 1st, 2019

Greta has the makings of a very good movie. The film was directed by Neil Jordan, the Irish auteur known for The Crying Game among a varied and daring nearly 30 year career. Greta stars 16 time Cesar nominee (Cesar=French Oscars) Isabelle Huppert and perennial rising star Chloe Grace Moretz, an actress seemingly always on the verge of a breakout role. So how did Greta go so very, very wrong? 

Greta is the name of the character played by Isabelle Huppert as a lonely, French widow living in New York City. One day, Greta leaves her purse on the subway and it is found by Frances (Moretz) who kindly returns the bag and its contents. Frances is treated as some small town hick in New York despite being from the small town of Boston which is like any homey backwater I guess. Is Neil Jordan so up on the New York-Boston rivalry that this portrayal is intentional satire? 

Anyway, my digression aside, Frances returns the bag and finds herself taken by Greta’s sadness and loneliness. She takes pity on the old woman and offers to go dog shopping with her. This turns into repeated dinners at Greta’s home and lengthy, intimate confessions about Greta’s failed relationship with her real life daughter and Frances’ pain over losing her mother and her strained relationship with her father, played by Colm Feore. 

One night, as Frances is helping set up for yet another dinner at Greta’s house, she finds a cabinet filled with purses, each with names and phone numbers attached and the same forms of identification inside. This is a quick indicator that Greta doesn’t just happen to meet people, she leaves these bags places with the intent of having a kind hearted person return them so that she makes a new friend. 

It’s really sad and pathetic but Frances, as if she has read the script ahead of time, reacts as if what Greta did was sinister. Of course, we know that it indeed was sinister but when you look at it just from the information Frances has, it’s merely a pathetic cry for help. Frances acts as if the bags are evidence that Greta is a serial killer. Instead of confronting Greta about what she found she sets about faking an illness and then sets about ghosting the old lady and not returning her calls. 

Greta doesn’t take this well and the thriller plot begins to kick in with Greta as the motherly version of Glenn Close in Fatal Attraction and that dog that she and Frances bought together playing the role of the rabbit. Greta begins showing up at Frances’ work and at her apartment and even after Frances calls the cop, Greta keeps upping the crazy by following Frances’s best friend Erica (Maika Monroe) while sending creeper photos to Frances. 

These scenes aren’t entirely ineffective but Isabelle Huppert isn’t exactly Max Cady from Cape Fear. Greta is strange and creepy but not menacing. You feel like she could be mollified with the promise of an occasional phone call and a casual lunch. Again, that’s as portrayed in the movie, only the marketing has given us any indication that Greta is crazier than what is portrayed in the movie. Only the film score attempts to push us toward genuinely fearing Greta but Isabelle Huppert doesn’t do much helping with that with her docile performance. 

Docile until she gets her big “I will not be ignored” moment late in the movie but even that moment isn’t notably energetic. The third act of Greta embraces the crazy a little but not in very convincing fashion. Greta goes predictably where you think it was going from the trailer and abuses the kinds of cliches that movies like this always abuse. There is even a dead meat private detective character played by Stephen Rea who may as well have been named Max Plot Device. 

My biggest issue however, with Greta and Neil Jordan is not so much the thriller cliches of good characters making bad decisions or even annoying plot conveniences. The biggest problem is tone. More than once Greta leans a little toward the high level camp that could make the movie work and then pulls back. If Isabelle Huppert is going to play evil in such a mundane fashion the movie needs to find another way to be entertaining and the movie never finds that. The only believable thing about Greta would be embracing just how silly this all is and leaning into it in a darkly comic fashion and it never quite gets there. 

I’ve made allusions to Fatal Attraction in this review and while I am not a fan of that movie either, that film at least appeared to drift into camp with some intent. Glenn Close was believably batty but she was also unconcerned about how people would take her. There is something close to John Waters’ Divine from Female Troubles in the high level, over the top, that Close plays in that movie. Isabelle Huppert lacks the energy or nerve to really go for the campy, sleazy, silly that Greta needs to be more than cliche riddled, base, thriller. 

Sadly, what we get in Greta is a regrettably straight forward series of overly familiar cliches from similar thrillers about obsessive psychopaths. The only seeming innovation is the lack of a sexual component to the main relationship. Greta is not sexually interested in Frances and the film goes a long way to make sure we get that this is about being a mom and not about a psycho-sexual obsession. The crazy lesbian is the one cliche Greta thankfully avoids. 

Strangely, rather than a movie like Fatal Attraction, Neil Jordan’s own Interview with the Vampire is the movie that best presages Greta in presenting something that should be high camp but is played dreadfully and regrettably straight. That film, quite oddly, also features a strangely bloodless and mannerly approach to a parental psycho-obsession as Tom Cruise, rather than being sexually obsessed with Brad Pitt’s effete and pretty fellow vamp, is more mad that Pitt won’t play along with being his scion. 

Mannerly is a good way to describe Greta. Yes, this is a movie about a psycho stalker but it is going to be decent and respectable about that plot in a way that deflates the movie. Bloodless, for the most part, and with a lead performance with the restraint of a Nun, Greta is a bizarre watch. The score appears to be the only part of the movie that embraces what this movie should be. The film score is filled with moody stabs and atmosphere that is lacking from the performances.  

Movie Review Ondine

Ondine (2010) 

Directed by Neil Jordan 

Written by Neil Jordan

Starring Colin Farrell, Stephen Rea

Release Date June 4th, 2010

Published June 12th, 2010

Lethargy in a movie tends to be a bad thing and yet the lethargic feelings induced by Neil Jordan's fable Ondine feels just right. Lingering on the details of a fairy tale while seducing us with the beauty of the Irish coast and unknown star Alicja Bachleda's supple calves, Ondine is a stroll where most other movies are a sprint. Sure, by the time the film's climax arrives, with some attendant threat, we have been relaxed to a near coma state, but who cares when it's all so very pretty.

Colin Ferrell plays Syracuse, a former town drunk now 2 years sober. Unfortunately for Syracuse his drunken antics are so memorable that no one will let him forget it, lashing him permanently to the nickname Circus for his clownish behavior. Syracuse isn't exactly miserable but he is less than content when his life is changed forever.

Casting his fishing net with little plans on catching much, Syracuse pulls up the shivering body of a beautiful young woman. He saves her life but she refuses medical attention or any attention at all to save him. She begs to be hidden and he happens to have just the place, a seaside cottage that once belonged to his late mother.

Thus begins a very unique love story made even more peculiar by Syracuse's 9 year old daughter Annie (Alison Barry. After hearing her dad tell the story of the woman pulled from the water as a fairy tale, she comes to believe that the woman, soon called Ondine or woman from the sea, may be a mythical creature known as the selkie.

A selkie is a half human half sea which sheds its seal coat once out of the water. To stay on land the selkie must fall in love with a landsman and bury its seal coat. It's a wonderful fairy tale and as the romance blossoms you can't help but be drawn to the mysterious Ondine and believe that she is some kind of mythic creature.

Director Neil Jordan has a great eye for quirks that are endearing rather than just odd. Where other writers and directors often merely assign a behavior to a character in order to give them something to do, the veteran Jordan allows the actors to find the quirk along the way and play it almost unconsciously. For Ms. Bachleda the quirks are numerous and charming and never merely for effect. Not bad for an actress better known for being her co-star's arm candy.

Indeed, Mr. Ferrell and Ms. Bachleda were a couple when she got this gig but credit Neil Jordan and Ms. Bachleda for showing this what not merely a favor to a big star but just the right bit of casting. The casting of Ms. Bachleda may be the reason why Mr. Ferrell seems so relaxed and pliable in Ondine. Almost non-existent is any star posing, even with his model ready mane of black hair.

Farrell melts into the role of an outcast quite well considering he never stops looking like Colin Farrell. His discomfort and sadness is tapped so perfectly that you actually believe that women would avoid him and even a town this small would ostracize him, even if he is the best looking man in town. Farrell's soulfulness, in the hands of the wrong director could become dreary. In the hands of a master of grief, loss and sadness, like Neil Jordan, the soulful qualities are something to cling to amidst the sadness. 

Nevermind what little inconsistencies exist in Ondine. This is a film about tone and beauty. Neil Jordan establishes a tone that ambles from one pretty scene to the next while the story drifts into the heart of the audience almost subconsciously until all are smiling and waiting patiently for a hoped for happy ending for this beautiful couple and the clever young towheaded daughter.

I am sure many will find Ondine boring but that’s their loss. The modern blockbuster has caused many to lose the ability to be patient and get lost in a story. If things aren’t moving a mile a minute they give up and start checking for text messages. Ondine is not for the impatient. It’s for the romantic, the indulgent, those who love a good director leading them on a strange wonderful journey. If that’s not you, skip Ondine.


Movie Review: Fear Dot Com

Fear Dot Com (2002) 

Directed by William Malone 

Written by Josephine Coyle 

Starring Stephen Dorff, Natascha McElhone, Stephen Rea, Udo Kier

Release Date August 30th, 2002 

Published August 29th, 2002 

The uneven career of Stephen Dorff continues. From his great performances in The Power of One, Blood & Wine and Entropy to his outright awful work in SFW, Space Truckers and Deuces Wild. On occasion he combines both a good and bad performance in one film. Such was the case in Blade where he had some effectively scary cool moments bookended by scenes of screen chewing hamminess. Fear Dot Com sadly features Bad Stephen Dorff, sullen skulking plot manipulated Dorff. Throw in an equally dull Natascha McElhone and you have a very unpleasant moviegoing experience.

fear dot com is a website, or rather FearDotCom.com is the website in the film. No I'm not kidding, Feardotcom.com, which is also the film's official website. Anyway back to the movie. Dorff plays a put upon cop in a nameless city constantly in darkness and always raining. My guess would be Seattle, but no one is drinking coffee and listening to Pearl Jam, which is my narrow stereotypical view of the city. The film was actually shot in Luxembourg, probably for the cheap labor and lack of strict labor laws. I'm off subject again but that was the way it was while I watched the film with my mind constantly wandering off, my inner monologue fixating on better movies than this like The Net or Howard The Duck.

Oh right the plot description. Basically this website takes possession of your soul and makes your eyes bleed until you kill yourself and the person nearest you. The same type of experience you would have watching Stop Or My Mom Will Shoot.

Anyway Stephen Dorff is the cop investigating the website. Dorff is aided by a pretty girl from the health department played by Natascha McElhone. The website steals their souls and won't give them back until they track down a serial killer named Allistair Pratt, played by Stephen Rea doing a sort Peter Lorre crossed with Geoffrey Rush and the devil thing. There is more to it but I don't remeber much of it, this plot makes more holes than a gopher.

Director William Malone, who delivered one of the best B-movies of the last decade with his remake of House On Haunted Hill, seems to want to go in interesting directions but can't get around this minefield of a script. So Malone, Cinematographer Christian Seboldt and Production Designer Jerome Letour do everything they can with the film's visuals to at least make the film a tolerable visual experience. Their work pays off a little in the final 20 minutes or so but by then it's too little too late.

Fear Dot Com isn't the worst film I have seen this year but it is an early candidate for the top 10 worst of the year. Keep your fingers crossed.

Movie Review: V for Vendetta

V for Vendetta (2006) 

Directed by James McTiegue 

Written by The Wachowski's 

Starring Hugo Weaving, Natalie Portman, Stephen Rea, Stephen Fry, John Hurt 

Release Date March 17th, 2006 

Published March 16th, 2006 

The most controversial movie of 2006 has arrived. V For Vendetta, based on the graphic novel by Alan Moore, has been accused of subversion and supporting a terrorist agenda. The question then must be: Does V For Vendetta put forth a terrorist agenda? The answer, because this is such a wonderfully smart and complex film, is yes and no.

Yes, the character of V, portrayed by Hugo Weaving, uses terrorist tactics and his goals are most definitely subversive. However, in this dystopian vision of the future, V's reign of terror is aimed at a totalitarian government that can only be fought with guerrilla or terrorist tactics. Those who can think with both sides of their brain will understand this complex division of ideas. For the myopic and agenda driven however V For Vendetta is a threatening shot across the bow.

In the year 2020, England has fallen under the sway of a militaristic dictator named Adam Sutler (John Hurt). Exploiting a tragedy that killed hundreds of thousands in the early years of the 21st century, Sutler was able to impose his dictatorship by playing on the fears of society, especially fears of the kind of chaos that had thrown the U.S, in this vision of the future, into a wildly violent civil war.

The new English dictator censors all art forms and removed or edited British history to match the new dictator's worldview. However, one thing he cannot censor is a bizarre masked character calling himself V (Hugo Weaving). Hiding behind the grinning porcelain veneer of the 17th century English terrorist Guy Fawkes, V strolls the darkened streets of London righting injustice and launching masterpieces of violent uprising.

In the early hours of the 5th of November, the date that, in 1606, Guy Fawkes attempted to blow up parliament in what was called the gunpowder treason, V has hatched an elaborate plan to wake up the citizens of London to the tyranny of their government. But first V intercedes when he finds three of London's secret police, known as Fingermen, attacking a young woman named Evey (Natalie Portman). Saving Evey's life, V invites her to witness his symphony of violence that includes major fireworks and the destruction of the British landmark the Old Bailey courthouse.

Later, V tells a captive nationwide audience, in a pirate broadcast, that one year from that date, he will blow up parliament and invites everyone with an issue with the government's fear tactics to join him. In the meantime V will be exacting revenge on the men who turned him into a masked vigilante. A series of murders, all connected to the tragedies that lead to Adam Sutler winning power. Stephen Rea plays the head of the British police charged with finding V who, in the process, ends up uncovering more than he wants to know about his government.

Evey and V have a past that is linked in ways neither is fully aware of. Her parents and younger brother were victims of the plague that gave rise to the current government as was V. Evey (as played by the lovely Ms. Portman) gives the film its conscience and story arc. Her slow awakening to radicalism, and what some would call terrorism, is where the film finds its socio-political backbone. At first she questions V's tactics and motives, giving us in the audience a chance to do so as well. Once she comes around we likely already have but it makes for a few of the films big dramatic moments.

The cast of V For Vendetta is sprawling and spectacular from top to bottom. John Hurt perfectly embodies the vengeful power-hungry chancellor. His presence also offers the ironic humor of his having played protagonist Winston Smith in Orwell's 1984, now graduated to playing Big Brother. Stephen Fry appears, all too briefly, as a talk show host, Evey's closest friend, and a man with a deep secret that provides yet another deep and abiding principle that the writers Andy and Larry Wachowski wish to exploit.

Many nods to the British stage also mark this cast, from Timothy Pigott Smith as the Chancellor's hatchet man, to Rupert Graves as Rea's detective partner, to Roger Allam as an unctuous TV commentator who evinces more than a little Rush Limbaugh in his bombastic oratory.

Written by Andy and Larry Wachowski, V For Vendetta has the excitement of the Matrix films but with a bigger brain. Directed by Matrix second unit director James McTeigue in his feature debut, V For Vendetta is also as visually accomplished as The Matrix pictures--high praise for a first time director. I don't mean to imply that V For Vendetta is superior to The Matrix, though it is superior to the lackadaisical sequels.

What separates V For Vendetta is the ideas behind it. There are a myriad of interpretations of exactly what the Wachowskis were attempting to say with this picture. When V For Vendetta debuted as a graphic novel from Alan Moore, it was an allegory for the Margaret Thatcher administration in England in the '80s. Updated to our times some see this version of V For Vendetta as veiled attacks on either George W. Bush, Tony Blair, or both. If you want to follow that line you can, but V For Vendetta is not that simple to pin down.

Yes there are references to America's war leading to the chaos of this future society. Director James McTeigue also makes an obvious visual reference to the Abu Graib prisons in Iraq. But the film is more accurately an attack on a government out of control and the way absolute power corrupts absolutely. The films ideology could be compared with the logic offered by the National Rifle Association in America which posits that the people have the right to bear arms so that if the government ever became a threat the people could fight back.

V For Vendetta takes that theory to a particular conclusion as the people of Britain, lead by V, begin to fight back against the tyrannical leadership. Yes, V's tactics and ideas could be defined as terrorism. When V talks of how blowing up a building can be a revolutionary act you cannot help but make the queasy connection to 9/11. That however is not necessarily the context of V For Vendetta.

Taken specifically within the guidelines of the plot this line of logic from V is merely the only way for the people to fight back against a government run amok. Think of it in terms of North Koreans rising to blow up symbols of dictator Kim Jong Il, or the people of Iraq attacking Saddam's palaces and you have a better corollary to the mindset of V For Vendetta.

V For Vendetta is bathed in coolness from beginning to end. The reflected glory of rebellious writer Alan Moore should inspire fanboys despite Moore's disassociating himself from the film after reading the script. Then there are the Wachowskis, whose cache of cool remains intact despite the mixed results of the Matrix sequels and the brothers' personal stories which have made for some interesting tabloid fodder.

The film's outlaw spirit and exceptionally well-staged violence are the big draws and they do not disappoint. V For Vendetta is exciting, thought provoking and darkly humorous. The film encompasses the ideas of revolutionary politics and righteous martial arts violence in ways we have never seen before on film and that makes it at once relevant anti-establishment filmmaking and kickass blockbuster action movie.

If watching a movie can be a revolutionary act, then V For Vendetta could inspire generations. Not inspire them to blow up buildings, but rather to watch closer for the signposts of corruption and fear mongering, which many fear are already being seen throughout the free world. V For Vendetta is powerful filmmaking with the punch of social commentary wrapped in the popcorn goodness of the mainstream blockbuster. This is one of the best films you will see in 2006.

Movie Review: The Reaping

The Reaping (2007)

Directed by Stephen Hopkins

Written by Carey Hayes, Chad Hayes 

Starring Hilary Swank, David Morrissey, Idris Elba, AnnaSophia Robb, Stephen Rea 

Release Date April 5th, 2007

Published April 4th, 2007

Is Hilary Swank finally feeling her Oscar curse? After winning two Oscars, a feat only two other actresses in history can claim, Swank continued her strong run with the terrific drama Freedom Writers. That film however, despite solid reviews was not a box office winner. Now comes the low-point of Ms. Swank's post Oscar career. The Reaping is a dull witted, thrill-less thriller. A horror film with little or no horror. A religious based scare-fest that fails to be either really religious or scary.

In The Reaping Hilary Swank plays Katherine Winter a former missionary turned college professor whose hobby is debunking religious miracles. She touts having visited 47 miracles and found 47 scientific explanations for the so called miracle. Her loss of faith is related to her time in Africa with father Castigan (Stephen Rea) where her husband and pre-teen daughter were slaughtered by fearful tribesmen who believed the sacrifices would save the lives of others.

Catherine's latest debunking assignment takes her to a small town in Louisiana called Haven. There a science teacher, Doug (David Morrissey), is trying to convince the townsfolk that they are not under attack from the ten biblical plagues. The plagues that the people believe are being visited upon them are believed by many to be coming from a teenage girl (Anna Sophia Robb) whose brother died under mysterious circumstances.

Since the death of the girl's brother, the river surrounding the town has seemingly turned to blood, frogs are falling from the trees, and soon each of the biblical plagues will have made an appearance, killing dozens of people. Is it god, the devil, or does this teenage girl represent one or the other? These are the questions that Catherine must answer before the next plague becomes the last.

I'll say this for Hillary Swank in The Reaping, she has never looked this good before. Swank has always been unconventionally attractive but in The Reaping she is tanned and toned and her sometimes severe features have been toned down through some sort of cosmetics work and all of this really works for her. If I was recommending movies solely on the attractiveness of the star, I would totally recommend The Reaping.

That however, is not something I would ever actually do. As great looking as Hillary Swank is in The Reaping, the movie is a dopey series of clichés leading to an ending more predictable than your average romantic comedy. Director Stephen Hopkins (The Life and Death of Peter Sellers) is not untalented. The problem is the story he's telling isn't all that compelling.

The Reaping plays like an above average production of one of those lame ass Left Behind movies where highly religious characters spout this and that about God's love until the wicked are smited and the righteous live on. Bad actors, overly earnest dialogue, and low budget aesthetics give those films a camp appeal that might have made The Reaping a ripe parody. Unfortunately, this high budget flick is deathly serious about its dopey, superstitious plot.

Is this the Oscar curse finally catching up with Hillary Swank? Maybe? Maybe not? The failure of The Reaping seems to be more a function of genre than of superstition. Aside from last years The Omen remake, religious themed horror flicks haven't delivered big scares since the 70's. Movie's like Bless The Child, Lost Souls and Skeleton Key have all starred beautiful starlets battling satanic forces and each has stunk out loud.

Is that because we are simply tired of rote plots and tired situations? Probably. It may also be that the old fire and brimstone doesn't really do much to put fear into people anymore. In a post 9/11 world, can the perceived horrors of potential damnation compete with the real life horrors in front of our eyes? The Reaping is also rather outdated in its reliance on the supernatural in an era where a more realistic, visceral and bloody style of horror dominates the market.

Whatever the reason, supernatural or otherwise, The Reaping is a failure. Not scary enough for horror. Not bad enough for camp, the film flickers on to the screen and simply lays there. Hilary Swank looks gorgeous and is impeccably talented but even two Oscars can't roust these characters and this situation into anything lively enough to be called entertaining.

Movie Review Megalopolis

 Megalopolis  Directed by Francis Ford Coppola  Written by Francis Ford Coppola  Starring Adam Driver, Nathalie Emmanuel, Giancarlo Esposito...