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Film: Agnosia
Year of production: 2010
UK Release date: 30th May 2011
Distributor: Momentum
Certificate: 15
Running time: 106 mins
Director: Eugenio Mira
Starring: Martina Gedeck, Eduardo Noriega, Bárbara Goenaga, Félix Gómez, Jack Taylor
Genre: Crime/Drama/Thriller
Format: DVD
Country of Production: Spain
Language: Spanish
Review by: Daryl Wing
From the producers of two of the greatest scare-fests of recent years, Pan’s Labyrinth (2006) and The Orphanage (2007), written by Antonio Trashorras, who also co-penned Guillermo del Toro’s spectacularly spooky The Devil’s Backbone (2001), and directed by Eugenio Mira, who brought us darkly comic The Birthday (2004), comes Agnosia, a Spanish period drama about love and, er, deceit? There must be some mistake, surely?
Joana (Bárbara Goenaga), a young woman suffering from the rare neuropsychological condition agnosia, which affects her sensual awareness, is preparing for her wedding to her father’s business associate, Carles (Eduardo Noriega).
Although Joana's eyes and ears function perfectly, her brain cannot interpret the stimuli she receives through them. When her father dies leaving behind a secret that only Joana knows, the formula to a telescopic lens hidden in her subconscious, she falls victim to a sinister plan to take advantage of her condition.
While her enemies try to extract the secret against her will, a handsome young man called Vincent (Felix Gomez), who previously worked for her father and shares an uncanny resemblance to Carles, is blackmailed into helping them, but his feelings toward Joana prove that perception isn’t always reality…
Eugenio Mira’s movie is wrought with persuasive period detail, lush landscapes, strong performances from an outstanding cast, but most surprising of all, razor-edged savagery and bursts of brutal imagery that make Agnosia almost as chilling as any of the movies already mentioned. It’s a genuinely refreshing surprise, even after the opening stampede when a horse is executed because they ran out of balloons. The plot veers into fantastical territory throughout, but Mira keeps it in check by allowing the characters to be as real as possible.
The opening act is quite bizarre, but all the better for it. Beginning many years earlier, when Joana is a child, the audience is able to revel in the film’s opulent surroundings reminiscent to countless fairytales as a group of wealthy gentlemen test out a new telescopic lens, shooting at balloons released by the whippersnapper. But then the horse gets one in the neck, a child collapses, the beginning of her suffering, and we are catapulted into a bleak, shadowy world controlled by villains and thugs. In turn, we are introduced to Vincent, ambushed and outnumbered, innocent yet insurgent, and the one man who can make Joana’s universe worth seeing again.
At its best, Agnosia is cruel and hard-hearted, with only Joana and her father decent enough to route for. The rest of the cast provide constant wickedness, whether it be Noriega’s reasonable turn as Carles, with his countless trips to the whorehouse because his future spouse isn’t giving him any (and he’s too polite to ask), or the mad doctor using his respectability to make lots of money, down to the evil business partner that never leaves loose ends, and even Vincent, a nice guy who doesn’t care if the girl he wants to ‘smash’ is getting married.
Because of this, there is bloodshed throughout. Not of the Sunday afternoon, Sikes murders Nancy variety, kindly gruesome even if it’s one of the most graphic, frightening scenes Dickens ever wrote, but seriously violent, and truly unexpected, whether it’s the death of a stallion, a servant - many servants - or the shy, unassuming Joana herself. A neat twist may propel us into act two, but the thrills witnessed here are not from the love triangle that slowly develops (although Joana’s conversation with Carles after spending a thunderous night with Vincent is comically tragic), but from the more believable world of corruption it’s set in.
Sadly, although it makes for convenient plot lubricant, the biggest stumbling block is the notion that Joana is unable to distinguish Carles from Vincent. And let’s face it, without this believability, the film is going to fail, no matter what else happens. It’s certainly difficult trying to suspend disbelief. With her impaired vision, his looks (although more youthful) are convincing, yet his voice, and the hope we can believe in a relationship that suggests they have barely touched each other since childhood, doesn’t quite wash. It’s a shame, because although both Vincent and Carles are likeable, there really should only be one winner.
Let’s face it, though, shoving a girl in a cocoon for three days and kidnapping her to retrieve the secret formula is a hard sell by anyone’s standards, as is the revelation during a pleasant period drama that it’s actually hidden in Joana’s subconscious, while the love story, despite its over-egged conclusion, is well executed and refreshingly realistic. Having witnessed the beauty that is Bárbara Goenaga, you would be lying if you didn’t understand either man’s plight. And so, with a barely noticeable soundtrack, which isn’t a bad thing, other than its clumsy hindrance to Vincent’s escape attempt, Agnosia fails to catch fire. To paraphrase Joana’s disappointment, “Last night, Agnosia, you seemed like someone else.”
As impressive as it looks, along with its surprising acts of brutality, Agnosia fails to convince because it can’t combine fairytale sweetness and quirky invention with realism where it really counts – a flawed but promising addition to Spanish cinema. DW
Film: Red Hill
Year of production: 2010
UK Release date: 30th May 2011
Distributor: Momentum
Certificate: 15
Running time: 95 mins
Director: Patrick Hughes
Starring: Ryan Kwanten, Steve Bisley, Tommy Lewis, Claire van der Boom, Christopher Davis
Genre: Crime/Thriller/Western
Format: DVD
Country of Production: Australia
Language: English
Review by: Rob Markham
Westerns are at home in Australia. The Proposition showed that the wilds of the US were not the only place this genre could work. Red Hill is the latest Australian western and a first time feature for director Patrick Hughes.
Constable Shane Cooper and his pregnant wife move from the city to Red Hill, a small town in the country, after suffering a miscarriage. On his first day, Cooper meets with the sheriff, Old Bill, a hardened policeman with no tolerance for mistakes and a grudge against the modernisation of the town.
As Cooper settles in to his new role, news of an escaped convict, Jimmy Conway, reaches the town. Old Bill assembles a team of armed men and prepares to take on Conway, knowing that he will head for the town of Red Hill to settle old scores.
As Conway storms the town, taking on everyone he meets, it is left to Cooper to learn the reasons for Jimmy’s revenge against the police and thugs of Red Hill, and there is more to it than meets the eye…
Red Hill begins with an eerily effective scene of horses in the country being scared by an unseen and growling presence in the trees at the base of a mountain. The Australian scenery is shot beautifully and the scene sets up the film to good effect. We are then introduced to the characters one by one, first meeting Cooper as he leaves his new home and heads for town and his first day as a Red Hill police officer.
There is plenty to like about the opening scenes. The shift in tone from creepy to menacing to humorous provides a sense of tension, as we are unsure what type of movie we will be watching. The opening would suggest a horror or thriller of sorts, while the sets, scenery and characters suggest a western. We are further thrown off the scent when the news of an escaped convict is followed by scenes of Cooper investigating the slaying of a horse, apparently by a wild animal.
It is only when we see a posse being rounded up and a plan of defence for the town being formulated that we are put squarely into the western genre, furnished with all its clichés. The monstrous sheriff, the moral lawman, and the avenging outlaw, all follow standard genre conventions.
It is unfortunate that the filmmakers did not, at this point, decide to make anything more interesting. What follows is a series of set pieces where Conway is involved in shoot-outs with local law enforcement, and characters (and logic) are abandoned for the sake of the action. Cooper is left out in the wilds to find his way back to town, and Old Bill is absent while his men are being slaughtered.
This wouldn’t be such a bad thing if the set pieces themselves were at least aiming at something other than average fare. Each shootout seems to be a rehash of superior westerns, neither going all-out with the violence, nor restraining it to make a point. Instead the scenes of violence are somewhere in between and end up feeling tediously sanitised.
There is some good use of the Australian countryside, but this seems to be abandoned as we follow Conway’s rampage, which does the film a disservice considering the themes at work. Hughes includes a discussion about how the town is wasting away through lack of old industry and the refusal of residents to accept new income streams. Added to that is the fact that Jimmy Conway is of aboriginal descent and, as the film progresses, there is a sense that Cooper and Conway come to understand one another as the latter’s tortured past is revealed. It seems one of the ultimate goals of the film is to show the harmony of aboriginal and white cultures working in the same landscape, but this landscape is never shown in a light that gives it any meaning beyond its aesthetic qualities. It is a shame because with such a strong message the film could have been so much more. If there had been an attempt to move away from standard genre conventions and clichés then perhaps Red Hill could have been more than the sum of its parts.
There are good points. The central theme of old and new can only be expressed clearly by the contrast between the two leads (Cooper and Old Bill) and both are played well by Ryan Kwanten and Steve Bisley. The former does fresh-faced innocence and promise, the latter does menacing and old-fashioned. Both are great choices and acquit themselves superbly. The supporting cast are also above average.
Praise should also be given to Tommy Lewis for his portrayal of the scarred and vengeful Jimmy Conway. His silent but deadly antagonist is menacing enough to sustain tension at key moments, and there are times when his dead-eyed stare and icy cool are chilling.
Unfortunately, it isn’t enough, as Red Hill is nowhere near as clever as it thinks it is and ends up being an average genre piece. It is not a bad film by any means, but it could have been so much more.
Despite competent direction and good performances, Red Hill doesn’t stand out as anything special in the western genre. However, there are enough moments of promise that director Patrick Hughes could well be one to watch in the future. Until someone else has a go, The Proposition remains the benchmark for the Australian western. RM
Film: The Girl Who Kicked The Hornets’ Nest
Year of production: 2009
Release date: 11th April 2011
Studio: Momentum
Certificate: 15
Running time: 147 mins
Director: Daniel Alfredson
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Sofia Ledarp, Annika Hallin
Genre: Crime/Drama/Thriller
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
Language: Swedish
The politically-outspoken Stieg Larsson left this world in a blaze of controversy, but his legacy remains a lasting one. His Millennium Trilogy has gained a massive fanbase, some awards attention, and has even been successful enough to get David Fincher on board for an American remake of the franchise, as Hollywood inevitably cashes in on the popularity of the books themselves. Many have been captivated by the exploits of his heroine Lisbeth Salander; her troubled past and volatile present, and it looks as if we’ll have to endure more of the girl for a few years yet. If rumours are to be believed, there’ll also be a fourth book (there were originally intended to be ten), penned by Larsson’s long-term partner, Eva Gabrielsson, and directly following on from the relatively open-ended The Girl Who Kicked The Hornets’ Nest. For now, however, this film represents the culmination of Salander’s tumultuous relationship with men.
Even those who are indifferent towards the first two instalments will find Hornets’ Nest required viewing – given that it sews up a lot of the girl’s incurred wounds. The Girl Who Played With Fire left Lisbeth bloodied and bruised after being shot in the head by her father, who she then attempted to kill with an axe.
While both lie in hospital, a Soviet spy ring worry that the secrets of Lisbeth’s past will be revealed to the world by Mikael Blomkvist’s magazine Millennium and endeavour to put a stop to the people that stand in their way.
Lisbeth herself must cope with an impending ‘attempted murder’ trial and the emergence of Dr. Peter Teleborian, the murky figure who oversaw her stay at a mental institution at the age of 12...
Divulging all of the key plot details would probably need a handbook in itself, but many of the events in the narrative all serve a similar purpose. It’s well documented that this series of books was intended to be titled ‘For Women Who Hate Men’, and that would certainly have been apt. You can count on one hand the number of positive male characters in all three films combined. Not content with having plagued Lisbeth with an abusive father, a sadistic serial killer and a rapist for a Legal Guardian, Hornets’ Nest dredges up the paedophile doctor who kept her strapped to a hospital bed for over a year. The film demonises the doctor as a sinister, evil liar, and does so to once again extricate sympathy for its weary heroine, who you feel has had to put up with far too much by the time the courtroom scenes roll around. From the aged villains involved in the conspiracy during her childhood, to the stilted lawyers who oppose her, the film acts as a final, determined effort to make the white male seem as thoroughly corrupt and sub-human a species as is fully possible. This might be a film intent on flaunting the abilities of its principal female character, but it victimises her through sexuality rather than empowers her through it, and shies away from considering the ambiguities within her thought process. In making her a statement of subculture, Hornets’ Nest strips her of identity, and has more in common with fascism than feminism.
While finely-paced and staunchly faithful to its literary roots, it’s difficult to accept much of what happens in Hornets’ Nest as credible crime writing. None of the issues involving Blomkvist and his magazine are particularly insightful or interesting, and the creative decisions often lean towards cartoonish depictions of villainy. Lisbeth’s brother, for instance, has a disorder which means he cannot feel pain, and proceeds to roam the wilderness Michael Myers-style, killing everyone and everything in sight before returning to enact some form of family vengeance in the film’s clumsy final act. In many ways, Hornets’ Nest is a subdued epilogue to the events that have gone on before it, devoid of real intensity beyond the trial scenes, and overwhelmed by the sprawling impression that the characters are picking up the pieces. If all ten books were to be completed and adapted, this would more likely serve as one of the fillers of the series, tying up exposition and achieving relative equilibrium, before it’s ready to introduce another callous male antagonist.
Too much of the film’s genuine drama either stems from relaying events in its heroine’s past, or creating overtly-shocking displays of sexuality and violence. The Girl Who Kicked The Hornets’ Nest has a propensity towards displaying violence as both a poison and an antidote, dangerously promoting vengeance as a quenching cure for bitterness. The previously-interesting Blomkvist becomes a fairly moot figure, and the dynamic between himself and Lisbeth is more frayed and uncertain here than in The Girl With The Dragon Tattoo and The Girl Who Played With Fire.
Regardless of its hard-hitting techniques, this latest addition to Scandinavian crime-drama falls on the wrong side of ugly, and more unforgivably is the dullest part of what, for now, remains a trilogy. CR
Film: Wake Wood
Year of production: 2011
UK Release date: 28th March 2011
Distributor: Momentum
Certificate: 18
Running time: 90 mins
Director: David Keating
Starring: Eva Birthistle, Ella Connolly, Amelia Crowley, Aidan Gillen, Brian Gleeson
Genre: Drama/Horror/Thriller
Format: DVD
Country of Production: Republic of Ireland/UK
Language: English
The reinvigorated Hammer Film Productions studio follows up on the critical and commercial success of Let Me In with this low-budget Irish horror. Harking back to the company’s heyday, this low-key offering emphatically explores loss and rebirth against the backdrop of rural Ireland, with a cast including Timothy Spall (the Harry Potter franchise) and Aiden Gillen (TV’s Queer As Folk and The Wire).
A vet, Patrick (Aiden Gillen), and his pharmacist wife, Louise (Eva Birthistle), have settled down with their young daughter, Alice (newcomer Ella Connelly), in Wake Wood, a small village set amidst the picturesque Irish countryside. On Alice’s birthday, tragedy strikes when she is mauled and killed by a vicious dog on her way to school, and the young couple understandably struggle to cope with their loss.
One year later, after their car breaks down in the middle of nowhere, the couple seek refuge at the home of Patrick’s employer, the mysterious Arthur (Timothy Spall), where they witness a bizarre ritual taking place behind his house. It soon transpires that Arthur and some of the residents of Wake Wood are capable of performing a resurrection ritual because of some unexplained force surrounding the village. Provided the deceased has been in the ground for less than a year, the townsfolk can bring them back for three days for closure and the opportunity for the mourning family to say goodbye to their loved one properly. Arthur offers this service to Patrick and Louise, who jump at the chance to see their beloved daughter again.
Once the ritual has been performed, however, the couple attempt to escape the village to hold on to their undead daughter after lying to Arthur by saying Alice was buried less than twelve months prior, causing her fatal injuries to reappear and a murderous streak to manifest in the child. With the townsfolk in terror, and the couple’s emotions in turmoil, it soon becomes clear that what was once dead and buried should remain so…
Death is the one inevitable, inescapable certainty in life, and to attempt to defy this fact (in cinema at least) never has a happy ending. A strong script and deep, multi-layered performances are required to effectively portray the unavoidable emotional havoc of characters suffering such a profound loss. Also, a supernatural subject matter requires a certain suspension of disbelief to appear effective, but tend to work best when they retain an element of logic and cohesion to encourage a ‘buy-in’ from the viewer. Unfortunately, Wake Wood largely fails on both counts, most notably with its gaping plot holes, laughable scenes and inconsistent performances that range from wooden (Eva Birthistle) to surprisingly effective (Aiden Gillen). The film’s only real ‘star’, Timothy Spall, offers a performance that is so bizarrely over-the-top that it becomes difficult to keep a straight face. This is largely due to the terrible script that forces a great actor to stumble through incoherent, bumbling explanations of the resurrection procedure that open more questions than they answer.
This lack of logical cohesion plagues the film throughout, hindered somewhat further by the lamentable editing. Cuts jump back and forth through time during critical themes, particularly during the love scene between the tormented couple. This moment is pivotal to the narrative, as it shows a relationship fractured by the death of a child beginning to rebuild once they have her back in their lives, albeit on a temporary basis. What begins as a fairly standard tryst cuts all over the place. Items of clothing are removed and reappear in the next shot, only to be taken off again in a completely different manner. Of course, this is a stylistic technique adopted by the editor, but completely fails in its execution. What should have been an affecting and emotionally significant scene becomes farcical in its execution. This choppy editing continues throughout, losing any sense of flow or logical progression in the narrative.
The most questionable aspect of the film is, however, the couple’s complete lack of questioning of the supernatural elements of the plot. As Arthur briefly explains the process, they are absolutely accepting of this as a logical step in coping with the premature death of their daughter. Apart from a couple of “What the hell?!” exclamations, they never question the technique or plausibility of what Arthur is proposing, prompting the audience to question it even more, despite the fact that it should be logical within the film’s context.
Despite these shortcomings, the ritual itself is suitably gory and follows an interesting pattern (who knew that coating a fresh corpse in cow dung and setting it on fire could prompt a metamorphosis?) with some decent practical make-up effects. Once Alice’s murderous rampage begins, the action takes a turn for the ludicrous by yet again falling victim to an over reliance on computer generated gore, which completely detaches the viewer from any tension or suspense by making the payoff so predictable. It is also clear, however, that the makers had to be understandably careful about what they could allow their child actor to be involved in. It is shocking enough to see her graphically mauled by a German Shepherd, and she remains visually detached from the actual killings, which could have been much more effective in the hands of a more capable editor. One shot in particular shows Alice waving around a makeshift weapon while the actual contact is clearly filmed separately and crudely edited together with a laughable CG skewering.
The general lack of logical progression culminates in the film’s ending, delivering a conclusion that is equally as full of plot holes and inconsistencies as the proceeding ninety minutes.
A decent enough concept is wasted with poor execution, a lack of tension and generally weak performances from a promising cast. If this is the quality of the re-established Hammer Film’s output, their future is bleak. RB
Film: Blood Simple
Year of production: 2009
UK Release date: 18th April 2011
Distributor: Momentum
Certificate: 12
Running time: 95 mins
Director: Zhang Yimou
Starring: Sun Honglei, Xiao Shen-Yang, Yan Ni, Ni Dahong, Ye Cheng
Genre: Action/Comedy/Crime/Drama/Thriller
Format: DVD
Country of Production: China
Language: Mandarin
With a catalogue of critically acclaimed films to his name, amongst which House Of Flying Daggers and Hero, Zhang Yimou's latest film, Blood Simple, offers a new take on the Coen Brothers’ 1984 film of the same name. A neo-noir crime thriller set in Texas, the original was successful in propelling the Coen Brothers to fame and has come to embody many of the themes often associated with their work. In short, it was a resounding success and stands as an iconic piece of independent cinema. Needless to say, Zhang certainly had his work cut out.
Wang, the rich owner of a small noodle shop situated in a remote desert town, is controlling, ill-tempered and often short-changes his workers. What's more, he's just discovered his long-term wife is having an affair with his apprentice, Li. Shamed by his wife's illicit behaviour; he hires a local patrol officer, Zhang, to murder them and dispose of their bodies, in exchange for a large sum of money. But, as the title suggest, Wang quickly discovers that murder is often anything but simple.
Outwitting his client, Zhang fakes the couple’s death and Wang unwittingly hands over the sizeable fee for their murder. With the transaction complete, Zhang wastes no time in firing a bullet into Wang's chest, ensuring Wang takes their exchange to his grave. Although, just as Wang discovered, such secrets are not easily hidden, even when one is as cautious as Zhang. From a sordid deal between two men, to the calculated murder of Wang, to the disposal of his corpse, each character finds themselves entwined in a web of guilt…
Zhang's Blood Simple bears many similarities to the original. Not only has Zhang done little to alter the original plot, but there are several scenes which are deliberate reconstructions of the original. Even so, Zhang's remake successfully offers a fresh and interesting take on a piece of iconic Western cinema. Combining light-hearted, theatrical comedy with some thoroughly dark themes, Zhang offers up a truly unique experience. Alternating between slapstick comedy and extended scenes depicting the meticulous disposal of bodies, Blood Simple stirs up a range of emotions, whilst offering all the glamorous visuals often associated with a Zhang Yimou feature.
Although, whilst the odd use of slap-stick comedy (particularly prevalent in the film's first act) within an otherwise dark crime-thriller will excite some, it may well alienate some fans of the original. In the case of Blood Simple, the success of its translation ultimately lies in the eye of the beholder and whether they believe glamorous visuals are ever justified when adapting a piece of classic independent cinema. However, in the case of Blood Simple, Zhang has far more to offer than impressive visuals.
Whilst the theatrical performances of some characters may not translate well with Western audiences, they are no doubt subdued by Honglei Sun's rather menacing performance as the patrol officer, Zhang, hired to kill Wang's wife. Zhang could quite easily have been plucked out of many a Coen brothers' script. In fact, he bears some resemblance to Anton Chigurh (Javier Bardem) of No Country For Old Men. Speaking very little throughout the duration of the film, his character is exposed via his despicable acts of cold-blooded murder.
The impact of this thoroughly engaging performance is undoubtedly increased by the film's beautiful camera work. Extended shots expose Zhang's attempts to correct the ever occurring flaws in his sadistic plan, whilst others frame Zhang as he frantically dashes along the corridors of the noodle shop, following one of his potential victims. Such camera techniques not only prove to make the film a visual treat, but they increase the tension felt during many scenes. Here, Zhang proves his understanding of visual grandeur exceeds the occasional, colourful slow-motion shot.
That said, whilst the themes of Blood Simple differ from Zhang's other works, it maintains the visual style employed in Zhang's previous films. As well as the interesting cinematography outlined above, Blood Simple offers all of the glamorous visuals of Zhang's previous films. Whilst the film's script may be a huge departure from the likes of House Of Flying Daggers, its visuals are just as breathtaking.
Blood Simple is an oddity. It takes a well respected piece of independent Western cinema and lavishes it with an extravagant Eastern flare, as only Zhang Yimou can do. With such a talented director at the helm, its translation is a treat to behold. Although, in order to fully respect the nature of Zhang's Blood Simple, it is important to draw a line between the original and this new adaptation. Zhang's Blood Simple takes the script from the original, but his colourful characters and spellbinding visuals transform this work into an entirely new experience. Zhang's film is bold, interesting and, as is to be expected, a visual treat. It is an 'oddity', and it is this that makes Blood Simple such a wonderful cinematic achievement. ME
Film: The Girl Who Kicked The Hornets’ Nest
Release date: 11th April 2011
Certificate: 15
Running time: 147 mins
Director: Daniel Alfredson
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Sofia Ledarp, Annika Hallin
Genre: Crime/Drama/Thriller
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
With David Fincher’s US remake of The Girl With The Dragon Tattoo well underway, the UK gets to see the final part in Stieg Larrson’s Millennium Trilogy. Lisbeth gets some breathing room, so the Millennium group has time to shine in the series’ dramatic conclusion.
Lisbeth Salander is being held under hospital arrest, accused of the attempted murder of her father, Zalachenko - the man who ruined her life and tried to have her killed.
As her court case approaches, a kindly doctor keeps her away from the prying inquiries of the police and the sinister Dr. Teleborian, a villain from her turbulent childhood.
Meanwhile, Mikael Blomkvist continues his efforts to clear Salander’s name by compiling a comprehensive expose in Millennium magazine and enlisting his lawyer sister to defend Lisbeth.
At the same time, Zalachenko’s employers, a secret organisation of ex-government officials and secret police, along with Lisbeth’s half brother, the sadistic Niederman, seek to silence Salander and Blomkvist forever…
Having this particular trilogy screened in the UK over the space of twelve months has been a strange but generous experience. The crossover appeal of The Girl With The Dragon Tattoo and the impact of Noomi Rapace’s striking portrayal of Lisbeth Salander made it an instant cult hit, as well as a critical success. Then the sequel came along and many expected more of the same, instead receiving a tangled mess of subplots and evil henchman. Now comes the third part, a satisfying trilogy finale not bogged down by high expectations or the need to pay fan service - the story of Lisbeth Salander concluding as abruptly as it began. It’s admirable that this threequel manages to resolve the events of the previous two films while introducing many of its own elements. Fortunately, the over abundance of narrative content doesn’t get murky, largely due to some speedy plot resolutions (one major threat is dealt with in an all too convenient but wholly satisfying fashion). Overall, this is a tighter, more engaging experience than its predecessor.
With that much vaunted central performance populating many reviews and analyses, it’s easy to forget that Stieg Larsonn’s Millennium Trilogy is largely an ensemble piece. Blomkvist and his crusading journalist buddies have always been an important part of the tale, and with the trilogy’s generous closing act, they finally take centre stage.
Lisbeth is confined to a hospital bed for a large chunk of the running time and after that, we only see her grunting in a prison cell, or brandishing a bold Mohawk in court. She is still the series’ best element, but the decision to leave her skulking in the background while Blomkvist and his colleagues pick up the pieces of her tumultuous existence is a satisfying one, making The Girl Who Kicked The Hornets’ Nest a marked improvement on the cartoon histrionics of The Girl Who Played With Fire.
Of course, those little niggles that emerged with the second film still remain to some extent. Invincible man mountain Niederman is largely pointless, and just as disposable as he was in the previous outing - fortunately his demise gives Lisbeth some nail gun assisted catharsis. Also, the ‘section’ group, while an engaging antagonist, is still reminiscent of a low rent cadre of Bond villains. Aside from these plot gratuities, The Girl Who Kicked The Hornets; Nest remains grounded and has more than a whiff of that gritty realism that made the first film such a success.
This trilogy is a genre chameleon, with the first instalment presenting a Fincher-esque dark serial killer tale with some socio-political overtones, while the second flirted with some form of action/thriller/espionage hybrid. The Girl Who Kicked The Hornets’ Nest brings back some of the first film’s political intrigue and adds a clandestine conspiracy into the mix, with a sprinkling of courtroom drama.
These films were originally broadcast as TV serials, and, as such, run the risk of becoming muddled, episodic and overly linear. Yet, somehow, screenwriters Frykberg and Rydberg condense Larrson’s convoluted story into easily digestible chunks. Lisbeth languishes in hospital, tapping out a biography on her smuggled phone, Blomkvist and the Millennium group compile the bumper Salander issue amidst death threats and in-fighting, and the secret ‘section’ group conspire to destroy them all (insert evil laugh). It is a testament to the smooth script that all these plates keep spinning, and all those tangled plot strands are tied convincingly at the film’s neat climax.
Not as consistently brilliant as the first film, yet not as confused and silly as the second, The Girl Who Kicked The Hornets’ Nest occupies a happy medium. There are reportedly more stories to tell about the troubled goth hacker Lisbeth Salander, but this satisfying coda suggests that her story should be left well alone. KT
The owner of a noodle shop in a small desert town, Wang is a miserable, ill-tempered, money-grabbing boss not averse to short-changing his workers whenever the opportunity arises. His dark moods and abusiveness have driven his wife into an illicit affair with Li, one of his employees, and provoked her into buying a gun believing that only Wang’s death can bring her the happiness she desires.
Aware of his wife’s infidelity and her plans to kill him off, Wang bribes a local patrol officer, Zhang, into murdering the two lovers while providing him with an alibi. But what looks like a perfect plan to Wang soon spirals out of control thanks to an unexpected double-cross that has all the players silently plotting against each other in twist-filled scenario driven by avarice, revenge and murder.
An inventive, original and totally off-the-wall remake of cult classic that somehow manages to remain true to the roots of the original, Blood Simple stars Sun Honglei (Blood Brothers; Mongol; Seven Swords), Yan Ni (Kung Fu Dunk) and Ni Dahong (Curse Of The Golden Flower).
Film: Blood Simple
Release date: 18th April 2011
Certificate: 12
Running time: 95 mins
Director: Zhang Yimou
Starring: Sun Honglei, Xiao Shen-Yang, Yan Ni, Ni Dahong, Ye Cheng
Genre: Comedy/Crime/Drama/Martial Arts/Thriller
Studio: Momentum
Format: DVD
Country: China
The Girl Who Kicked The Hornets’ Nest gives every fan the chance to complete their collection of the of the BAFTA® winning series and with The Girl With The Dragon Tattoo and The Girl Who Played With Fire both entering the DVD sales charts at number 1, The Girl Who Kicked The Hornets’ Nest is set to continue that success.
The Girl Who Kicked The Hornets’ Nest picks up where The Girl Who Played With Fire left off. Under police guard in hospital, Lisbeth Salander (Rapace) is charged with murder and awaits the trial that has the country gripped. Cut off from all communication with the outside world, she must rely on journalist and former lover Mikael Blomkvist (Michael Nyqvist) to prove her innocence and expose the political cover up that threatens to destroy her freedom. In his way stands a mysterious group who will go to any lengths to keep the shocking truth of their actions a secret.
Expect conspiracies and corruption as the details of Lisbeth’s case are thrashed out in court. Millennium fans won’t be disappointed with the dramatic climax in which answers to questions are finally revealed.
Directed by Daniel Alfredson and adapted for the screen by Ulf Ryberg, The Girl Who Kicked The Hornets’ Nest concludes the most talked about cinematic event of recent years. The first film in the series, The Girl With The Dragon Tattoo won the BAFTA® award for Film Not In The English Language and Noomi Rapace received a nomination for Leading Actress for her role as Lisbeth Salander.
Presented in stunning glossy packaging, both DVD and Blu-ray formats will include the original Swedish and English language audio versions of the film and a host of special features.
With UK book sales now in excess of 5 million copies, interest in the stories and characters continue to grow with commuters, casual readers and avid fans the world over being gripped by the intense and original narrative.
Film: The Girl Who Kicked The Hornets’ Nest
Release date: 11th April 2011
Certificate: 15
Running time: 147 mins
Director: Daniel Alfredson
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Sofia Ledarp, Annika Hallin
Genre: Crime/Drama/Thriller
Studio: Momentum
Format: DVD & Blu-ray
Country: Sweden/Denmark/Germany
Special Features:
•
Trailer
•
Interviews with Noomi Rapace and Michael Nyqvist
Film: Tsotsi
Release date: 17th July 2006
Certificate: 15
Running time: 94 mins
Director: Gavin Hood
Starring: Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe
Genre: Crime/Drama
Studio: Momentum
Format: DVD
Country: UK/South Africa
Gavin Hood’s 2005 Academy Award winning adaptation of Athol Fugard’s novel of the same name, will be reminiscent for many of Fernando Meirelles’ critically acclaimed City Of God. Set against the backdrop of a crime-ridden, South African slum, Hood’s third feature project sees his protagonist embark on a journey of atrocity, penitence and, ultimately, the opportunity for redemption.
On the outskirts of Johannesburg, within the poverty-stricken and isolated slum of Soweto, a 19-year-old hoodlum (Presley Chweneyagae) leads a small gang in a life of crime as a means of survival. Known to his peers, and the audience alike as ‘Tsotsi’ (translating loosely as ‘Thug’), the young man and his fellow hoodlums venture into the city, where they seek to deprive the more affluent of their wellbeing.
However, when Tsotsi and one of his fellow gang members, Butcher, have a disagreement, Tsotsi makes the decision to leave the group and to carry out crime without their assistance. When Tsotsi comes across a wealthy woman attempting to open the faulty electrical gates to her home, Tstosi wastes no time in carrying out his lone criminal acts. Seizing his opportunity, he takes the car, and shoots the woman in the process. It isn’t until Tsotsi hears the cries coming from the back seat of the car, however, that he realises the true extent of his crimes.
Wanted for attempted murder and kidnapping, Tsotsi seeks assistance in caring for the three-month-old baby from Miriam, a young mother living nearby. During the next six days, Tsotsi begins to reminisce about his own traumatic childhood, and to realise the importance of family. Gradually, the impact of caring for a vulnerable child leads Tsotsi to realise the person he has become, and to begin segregating himself from the people and the lifestyle that he has known for so long…
There is no doubting that Hood has taken the reigns on a project which has seen the benefit of an unquestionably strong core, provided to him by one of South Africa’s most important and acclaimed writers of the past century, Athol Fugard. That said, successfully conveying what one reads in a novel into an on-screen feature is not an easy accomplishment.
This fact remains true even for those directors who are able to distract their viewers from the real substance of the material, by creating wonderful worlds of fantasy, or by using an array of special effects and artistic license to compensate for sub-par performances by their cast. Hood, though, is not afforded such luxury, and is instead provided with a backdrop which is very much a reality, distressing though it may be, and a complex lead character that will require true skill to authentically replicate on screen.
Nevertheless, Hood handles the material brilliantly, and is able to not only draw some phenomenal performances from a relatively young and highly inexperienced cast, but also to create and manipulate a backdrop that allows the viewer to gain a better understanding of the characters themselves.
Casting for the film proved to be somewhat difficult for Hood and the film’s producer, Peter Fudakowski. In an attempt to avoid filtering out the essence of the production by using English speaking actors, the pair flew from Los Angeles to South Africa in search of Tsotsi-taal speaking talent (a mixture of languages spoken in the South African townships, such as Soweto). However, it wasn’t until casting director Moonyeen Lee stepped in that Chweneyagae was discovered. Lee suggested that the part of Tsotsi should be played by someone much younger than those that were currently being auditioned, who were in their late twenties and early thirties, as it would enable the audience to be more sympathetic towards the character. Lee recognised that, as a teenager, Tsotsi can still be influenced by his experiences, and thus, he is not so incapable of diverting away from his criminal lifestyle. Identifying this point proved pivotal for the production, and subsequently presented Chweneyagae with the opportunity to showcase his on-screen capabilities.
Tasked with the depicting the young man who struggles to abandon a personality influenced by his harrowing past, and nurtured by the environment in which he lives, Chweneyagae does not disappoint. With an outstanding debut performance, Chweneyagae’s raw energy and ability to portray such an intricate and emotional character enables him to captivate his audience. Viewers, remarkably, begin to empathise with Tsotsi, and are somehow impossibly tempted to forgive him for his past atrocities and urge him along the path of redemption.
The supporting cast must also be given substantial credit for their impact on the movie. As peripheral characters, they enhance the understanding of the audience as to the lifestyle that Tsotsi leads, and also the effect on an individual that living in a town such as Soweto can have on a person. Zenzo Ngqobe, as Butcher, assists in highlighting the malicious nature of Tsotsi early on in the film, and Terry Pheto, shines as Miriam, the young girl from whom Tsotsi must learn how to care for a child. Pheto brings to life her character, and charms the audience with her vibrant and caring nature, in an otherwise dismal town.
Shot in wide screen and with heavy sepia-toned effects, Hood is able to emphasise the grandeur of the dusty, derelict landscape which Tsotsi inhabits, while simultaneously and contrastingly capturing the intimacy upon which the film hinges by using close up shots of the central characters. This enables the audience to personalise with Tsotsi, looking almost directly into his eyes and developing that sense of empathy which Hood requires of them in order for the movie to be a success.
Tsotsi’s existence is further represented by the home in which he lives - a dreary and dull, lifeless and uninviting shack. This, along with the dark clothes that he wears, symbolises the internal nature of the lead character, or at least how he perceives himself. In stark contrast to Tsotsi is Miriam, who in spite of being a resident of the same impoverished town, embodies confidence and life, characteristics which are reflected in the bright clothes that she wears and the colourful interior of her shack.
Hood utilises this theme of contrast throughout the movie - in such patent comparisons as that of Tsotsi’s lifestyle compared with that of the rich, suburban couple he steals from, to the more subtle aspects such as characters’ clothing – perhaps as an indication of Tstosi himself, and the person he has become, compared with the person that he seems capable of being.
The soundtrack is no exception, switching from upbeat, high tempo Kwaito music, to lighter, more spiritual compositions. The audience is well driven by the fast beats, which keep up the energy and pace of the movie throughout, allowing the audience to pause only when Hood wishes for them to do so. When this does occur, the harmonies soften and encourage the audience to dwell upon the lead character, whether to allow them insight into Tsotsi’s traumatic past, or to convince them to hope for his future.
Hood has seamlessly compounded all of the elements of a successful character study into this absorbing and masterful piece of South African cinema. An enticing plot and some excellent supporting performances contribute to the success of the movie, but it is the direction of Hood and the lead performance of Chweneyagae that makes this film what it is; a truly outstanding production. TMO
Film: Damned By Dawn
Release date: 7th March 2011
Certificate: 15
Running time: 81 mins
Director: Brett Anstey
Starring: Renee Willner, Bridget Neval, Dawn Klingberg, Danny Alder, Taryn Eva
Genre: Comedy/Horror
Studio: Momentum
Format: DVD
Country: Australia
This is an English-language release.
Damned By Dawn was a huge crowd-pleaser at the Film4 FrightFest in 2010, managing to delight horror movie fans with a yearning for the type of inventive and entertaining horror-comedy shenanigans not seen since Sam Raimi’s Drag Me To Hell (2009). Written and directed by Brett Anstey, his debut feature, it follows on from his short-film Atomic Spitballs, oddly way back in 2004. With five years between gigs, his latest offering must be more polished than a Salvation Army Brass Band.
Claire (Renee Willner) drags her reluctant new boyfriend, Paul (Danny Alder), off to a remote house in the countryside to meet her family after receiving a mysterious package from her terminally ill grandmother (Dawn Klingberg).
Curious to learn more about the strange gift, an urn, Claire is instead left bemused by her gran, medicated up to her eyeballs, whose ramblings about the arrival of a female spirit to escort her feeble body into the afterlife annoy rather than explain.
As a violent thunderstorm rocks the house, everyone other than the grandmother are awoken by a succession of piercing, otherworldly shrieks; the cries of a banshee, summoning the dead to rise again, thus beginning a terrifying ordeal for Claire and her family as the army of undead unleash their fury upon the living…
To paraphrase the quote at that start of this film: Oh, how we mournfully wail, in the midst of the silent, lonely, lonely night; lamenting, we sing the song of death, unless we hit the eject button and watch something more entertaining instead. This is, perhaps, doing Brett Anstey an injustice, as Damned By Dawn actually opens fairly well, providing a couple of neat chills and a soundtrack that will, at the very least, result in neighbours dialing for the emergency services.
Ignoring the quite ridiculous make-up worn by Dawn Klingberg, Grandma’s spooky yackety-yak sets up the noteworthy arrival of a screaming banshee (turn the volume up really loud) that suggests this could be one hell of a ride. Sadly, other than a scene following shortly after, a delicious yet quite random act of violence from Claire, nothing can halt the viewer’s slide from edge of the seat to lying comatose on the lounge floor.
Things quickly devolve into a tiresome retread of the Evil Dead trilogy - without the fun. Flattened by mediocre editing from the outset (the kitchen scene involving Claire’s out-of-synch father asking for help is amateurish to say the least) and some poor dialogue (“I saw it, it was here…this face, this evil face…”), Damned By Dawn is left dead and buried way before the introduction of a computer generated skeleton so pedestrian it makes Ray Harryhausen’s creations look state of the art.
It wouldn’t be so bad if Anstey went for Raimi’s comedy jugular, but a script lacking in distasteful bloodshed contradicts the feel of the film, never quite deciding whether it wants to be taken seriously or not. The sound and visuals are decent enough, even if the repetitive wailing of the banshee, one of the film’s few highlights, eventually begins to grate. It may look bleak, but corridors that offer no fear thanks to shots that linger in the wrong place for far too long, effects wasted in scenes that offer little progress, and a screenplay that has more holes than the belt you may wish to tie around your neck halfway through, creates a movie that surely can’t be resurrected.
Thank the lord for Renee Willner, then. Yes, she may be worried that her terminally ill grandmother has been kidnapped (a premise even more ridiculous than an angry banshee raising the dead), and there’s a lazy nightmare sequence that questions her ability to sleep through such trauma, but she does make an irresistible piece of eye candy, for the boys at least. The remaining cast, mere fodder, are so frustratingly bland you’ll be thankful when the slaughtering finally starts. Our lead may have more personality in her left foot, but it wouldn’t hurt for the director to care about the others a little bit more.
You would also expect him to have watched and taken a few notes from successful scare-fests, but on this evidence, as another shadow glides across the screen, whether it be in the background or right in the viewer’s face, the fear of the unknown is left floundering in a sea of cheap scares, while its calls for help are continuously drowned out by the increasingly head-splitting soundtrack.
When the action switches from stalk-and-scare to a rubbish first person computer game perspective, with our hero fending off the skeleton intent on doing him harm, you know that Damned By Dawn is more doomed than Doom. Claire’s lame attempts to fight off her, by now, very dead boyfriend is laughable (she’s no action hero), and you can’t help but wonder how it’s so hard to hide from a banshee with a larger set of lungs than Susan Boyle.
There’s still time for a daft voiceover encouraging our protagonist to return to the farmhouse and finish what she started (including a genuinely impressive car journey through flying ghouls), and at least Anstey has mastered the art of paying off a set-up involving a fox trap, but he doesn’t explain how the best way to defeat the dead is to knock them unconscious. By the time Claire tries to rectify her mistake by granting her grandmother her dying wish, you’ll be bored of the wailing, craving some intentional humour, and longing for some uncivilized bloodshed.
Polished brass will pass upon more people than rough gold, but Damned By Dawn doesn’t scrub up well despite boasting a number of efficient chills and a wonderfully atmospheric world. Dropping the ball in the monster department, with woeful dialogue and characters with no common sense, this is a film that will leave the audience wailing louder than the banshee. DW
This is an English-language release.
A huge crowd-pleaser at the Film4 FrightFest in 2010, the film the festival’s organisers called “the coolest, scariest movie from Australia since Undead,” Damned By Dawn is guaranteed to delight horror movie fans with a yearning for the type of inventive and entertaining horror-comedy shenanigans not seen since Sam Raimi’s Evil Dead trilogy.
Prompted by the arrival of a mysterious package from her terminally ill grandmother (Dawn Klingberg), Claire (Renee Willner) drags her reluctant new boyfriend, Paul (Danny Alder), off to meet her family at their remote country home, where she hopes she will discover the motivations behind the unexpected gift.
Things seem to be going well until Claire’s heavily medicated gran begins rambling on about a female spirit she is expecting to come in the night to escort her body into the afterlife. That night, as a violent thunderstorm rocks the house, the family is awoken by a succession of piercing, otherworldly shrieks, which prove to be the cries of a banshee. As the terrifying sounds ring out, the dead are summoned to rise again, so beginning a waking nightmare for Claire and her family as the banshee and her army of the undead unleash their fury upon the living.
Damned By Dawn is about as entertaining as independent horrors movies get, combining shocks, gore and sly wit in equal measure.
Film: Damned By Dawn
Release date: 7th March 2011
Certificate: 15
Running time: 81 mins
Director: Brett Anstey
Starring: Renee Willner, Bridget Neval, Dawn Klingberg, Danny Alder, Taryn Eva
Genre: Comedy/Horror
Studio: Momentum
Format: DVD
Country: Australia
DVD Special Features:
•
Audio commentary by director and crew
•
Making of featurette
•
Trailer
Film: Ajami
Release date: 14th February 2011
Certificate: 15
Running time: 121 mins
Director: Scandar Copti & Yaron Shani
Starring: Fouad Habash, Nisrine Rihan, Elias Saba, Youssef Sahwani, Abu George Shibli
Genre: Crime/Drama
Studio: Momentum
Format: DVD
Country: Germany/Israel
Gaining the special mention Camera d’Or prize at the 2009 Cannes Film Festival, Ajami is a complex multi-character crime thriller that focuses upon the Israeli/Palestinian conflict located within one of Tel Aviv’s poorest neighborhoods. Directed by Yarin Shani and Scandar Copti, the former a Jewish Israeli and the latter a Christian Israeli Arab who also stars, Ajami is most importantly a film that has been made by both sides of the conflict.
Ajami is the name of the neighbourhood of Jaffa in which the movie takes place. In the beginning of the film, a local boy is shot dead in the street in a drive by shooting. It quickly transpires, however, that the shooting was a case of mistaken identity. The hit men were supposed to kill 19-year-old Omar in order to reconcile an on-going family feud, which has seen death and injury on both sides.
Refusing to run away, fearing for the life of himself and his family, Omar seeks help from Abu Elias, the local crime lord who runs the restaurant he works in. After attending a Bendouin court session, Omar is required to pay a large sum of money to settle the feud with the rival Abul-Zel family. Needing to make money quickly Omar is forced into a life of crime and drug dealing. It doesn’t help that Omar is also in love with Abu Elias’s daughter, Hadir, a Christian Arab.
Omar isn’t the only one with problems; Malek, an illegal immigrant who also works in the restaurant, is desperately in need of money to pay for his mother’s bone marrow transplant. Even the restaurant’s head chef, Binj, who appears to lead a more profitable and successful life, suffers as a result of his brother’s involvement with crime.
On the other side of the conflict, Jewish cop Dando is trying to find his missing brother whilst attempting to do his duty in an increasingly brutal fashion…
Echoing a narrative form inherited from Quentin Tarantino, Ajami’s story unfolds throughout the course of five interlocking chapters, which play out in unchronological fashion from a variety of alternative perspectives.
In a similar fashion to how The Wire defined the city of Baltimore by illustrating the social divisions between the criminals and the authorities, Ajami attempts to do the same within Jaffa. Whilst all characters are motivated by basic and understandable human behaviour, their situation within Ajami and all its conflicting social boundaries make resolution all the more difficult. Daily life is permeated by destructive racial prejudices, and the prevalence of money only pushes the impoverished into illegal activity cementing the age old vicious cycle - despair and violence only breeding more despair and violence. Whilst no character appears completely heatless, it is Abu Elias, the one character who exists in a position of power that truly comes across as unsympathetic, effectively serving as a tax man - initially appearing approachable in a time of crisis until he announces that a greater amount of money is needed.
Most of the actors and actresses have never acted before, but it never really shows or affects the film’s believability. Shahir Kabaha as Omar centres the whole movie - he is essentially just a kid but one who has to take action as the man of the family. The directors are quick to focus on the good social interactions between characters, between families and friends, with family being a dominant theme throughout the film at the centre for the conflict. For all Dando’s negligible behaviour as a cop, he is rectified by one sequence in which he bathes his infant daughter. This is the scary part; on the surface all these people seem like decent human beings but all it takes is a scratch of the surface to illuminate all the social complications. This is evident in one particular scene in which an initially civil discussion between a Jewish and Arab neighbour quickly turns to violence, and results in a dead body.
The non-linear way in which Ajami progresses, is a very intelligent way of both informing and misleading the audience. Based on the plot as they see it, audiences are bound to make their own assumptions and predictions based on their own prejudices or at least their previous experiences from watching other movies from the same genre. It is only until the credits roll, do we gain the full understanding of events and we can finally make our own conclusions.
Given its setting and the insights it provides, Ajami is a very important film, aside from the fact that it is also a brilliantly executed thriller that keeps the audience guessing right up until the end. CPH
