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Posts Tagged ‘Matthew Goode’

Paddy Considine, Pierce Brosnan, Helen Mirren, Tom Hardy

“MOBLAND’’  (Paramount )

When it comes to reprehensible behavior and mindless violence, American criminals seem positively enlightened compared to the mayhem-dishing psychos inhabiting British series like “Gangs of London” and, now, “Mobland.”

In “Mobland” the seemingly omnipresent Tom Hardy plays Harry, the stoic but ruthlessly effective lieutenant to the Harrigans, one of London’s two major crime syndicates.

Hardy, who is watchable in even iffy material, here gets the most out of Harry’s slow-burn personality. This is a guy who seems calm even when spraying a machine gun in a war for supremacy in London’s illicit drug trade.

But the real acting meat goes to Pierce Brosnan as Conrad Harrigan, the arrogant, emotionally loose-canon boss of the clan, and especially Helen Mirren as his wife Maeve, a scheming Lady Macbeth with a gloriously foul mouth and a chess master’s talent for duplicitous scheming. Emmys seem obvious.

Toss in Paddy Considine as their tormented son, Anson Boon as  his homicidal spoiled-brat teenager and Joanne Froggatt as Harry’s kept-in-the-dark wife, and you’ve got a pedigreed supporting cast.

Keep your eyes open for brief but telling perfs from the likes of Janet McTeer and Toby Jones.

Wagner Moura, Brian Tyree Henry

“DOPE THIEF”(Apple +)

Is there any role Brian Tyree Henry can’t play?

He’s impressed as a perplexed rapper in TV’s “Atlanta,”  been a heavy in actioners like “Bullet Train” and showed his humanistic side in “Causeway” and “The Fire Inside.”

He massages all those facets into his lead performance in “Dope Thief,” a crime drama that also serves as a touching bromance.

Ray Driscoll (Henry) and his buddy Manny (Wagner Moura) are ex cons who now earn a living by posing as DEA agents and ripping off drug houses.  It’s the perfect crime, since their victims aren’t about to go to the authorities for redress.

Perfect until, that is, their latest score results in a shootout. Turns out their target was actually part of a federal sting operation.  Among the dead is a government agent; surviving but badly wounded is DEA agent Mina (an excellent Marin Ireland), now determined to track down the guys responsible for killing her partner.

And that’s not even mentioning the white supremacist motorcycle gang who were the original target of the sting and now seeking to recover their cash.

“Dope Thief” alternates between high drama and some satiric comedy, not always making the transition gracefully.  But Henry and Moura are weirdly compelling as two guys in way over their heads, with Moura’s character burdened by a bad case of conscience.

And you’ve gotta love Kate Mulgrew as Ray’s chain-smoking, casino-crawling mother (or is it stepmother?)

Alexej Manvelov, Matthew Goode, Leah Byrne

“DEPT. Q” (Netflix)

Based on Danish author Carl Adler-Olsen’s series of crime novels, “Dept. Q” takes his yarn about a squad of police misfits and plops them down in Scotland.

Matthew Goode, whom I usually associate with fairy genteel roles, here is having almost too much fun as scuzzy, scraggly Carl Morck, a police detective with a Scroogish personality who, to keep him out of his colleagues’ hair, is given his own cold case unit operating from the dank basement of police headquarters.

Though a fierce loner, Carl finds himself saddled with other officers from the department’s roster of losers. 

Alexej Manvelov is borderline brilliant as Akram, a quiet, seemingly gentle refugee from Syria whose kindly exterior hides a disturbing knowledge of torture techniques.  Leah Byrne is Rose, a Kewpie doll of a cop out of the loop since accidentally killing a citizen during a high-speed chase. And Jamie Sives is Hardy, Carls’ old partner now paralyzed after a shooting but still able to man a computer.

This first season is dedicated to the search for a prosecuting attorney (Chloe Pirrie) who has been missing for four years.  Periodically the action shifts from Carl and  his crew to a remote location where the woman has been enduring a hellish imprisonment.

Though there are parts of the yarn that seem underdeveloped or even superfluous (I’m thinking Carl’s contentious relationship with his angry motherless stepson and his mandated sessions with a shrink played by Kelly Macdonald — who may in upcoming seasons turn into a love interest), the central crime and its slow unravelling makes for compulsory viewing.

Erika Henningsen, Steve Carell, Tina Fey, Colman Domingo, Will Forte, Marco Calvani

“THE FOUR SEASONS”(Netflix)

This spinoff from Alan Alda’s 1981 feature film is a quiet delight.

The movie followed a group of middle-aged friends through four vacations, each set in one of the four seasons (with musical accompaniment featuring Vivaldi’s ever-popular “Four Seasons”).

Tina Fey and Will Forte are Kate and Jack, long married but starting to see cracks in the relationship.  The flamboyant Italian Claude (Marco Calvani) and the workaholic Danny (Colman Domingo) are a gay couple going through their own issues.

And then there’s Nick and Anne (Steve Carell, Kerri Kinney), who shock their friends with a divorce.  Things get really uncomfortable when Nick starts showing  up for group gatherings with Ginny (Erika Henningsen), a dental hygienist half his age.

Like the film, this eight-part series is consistently funny while tackling some pretty serious themes about marriage, infidelity, the middle-aged blahs  and how the hell you’re supposed to support both members in a failed marriage.

| Robert W. Butler

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Jim Broadbent, Helen Mirren

“THE DUKE” My rating: B (In theaters)

95 minutes | MPAA rating: R

For all of their perceived stuffiness, the British do love their eccentrics. And in Kempton Bunton — portrayed in Roger Michell’s funny/stirring “The Duke” by the great Jim Broadbent — they had one of the best.

In 1961 Bunton, a 60-year-old taxi driver (among other gigs…the man couldn’t hold a job), was tried for stealing from the National Gallery a portrait of the Duke of Wellington by the great Spanish artist Goya.

A few weeks after the painting went missing Bunto strolled into the museum with the stolen artwork wrapped in brown paper, handed it to a guard and promptly admitted to the theft.

His defense was that the government had, to prevent the painting being returned to Spain, spent 140,000 pounds to purchase the portrait (which, most everyone agreed, wasn’t particularly good even if it did depict a British hero), and that all that money could have been better used to promote the common welfare.

Like, for instance, paying the TV tax of poor English families. From the late 1940s through 2000 British TV owners paid an annual tax meant to underwrite the operations of the BBC. Bunton was on a personal crusade against what he saw as an unfair and regressive tax; in fact he’d briefly gone to prison for failing to pay his own TV tax. (His novel defense was that he’d disabled his set so that it could pick up commercial stations but not the BBC, and therefore he didn’t owe the government a farthing.)

Scripted by Richard Bean and Clive Coleman and directed by Roger Michell (his last film, finished shortly before his death last year), “The Duke” starts out as a study in oddball populism and gradually picks up weight and substance until it’ll damn near have you choking back tears.

Broadbent was clearly born to play Bunton, a character of Dickensian dimensions. A perennial writer of letters to the editor, a critic of the Brit class system and an ambitious but unperformed playwright, the man is always getting into trouble.

But here’s the thing…Kempton Bunton is wildly entertaining. You can’t tell if he’s deliberately giving the middle finger to decorum and propriety, or whether he’s a sort of political/social idiot savant. He delights court watchers with his rapid-fire comebacks (asked where he was born, Bunton replies without missing a beat: “The back bedroom”). At one point the judge cautions that he’s not auditioning for a musical.

Matthew Goode

If Bunton is a rising folk hero in the Old Bailey, he’s in the doghouse at home.

His wife Dorothy (Helen Mirren, dowdied down to the nines) has just about had it with him. While her husband loses job after job she slogs away as a cleaning lady for rich folk. Moreover, she blames him for the death a few years before of their teenage daughter (the movie never really makes clear why she would think that, but there it is).

And, she notes, Kempton is a terrible role model for his two boys, especially the younger, Jackie (Fionn Whitehead), who soaks up his pa’s antiestablishment attitudes. (Indeed, as things progress Jackie, in a nifty plot twist, becomes a pivotal figure in his father’s fate.)

Matthew Goode has a juicy supporting role as Bunton’s defense attorney, who has the good sense to simply let his client be himself on the stand, thus winning the hearts of Englishmen everywhere.

“Torn from the headlines” usually indicates a tragedy in the offing. In case of Kempton Bunton it means head-shaking delights.

| Robert W. Butler

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“DOWNTON ABBEY” My rating: B+ 

122 minutes | MPAA rating: PG

Feature film spinoffs of successful TV series have an iffy track record (“Sex and the City,” “Entourage,” “Absolutely Fabulous”), but the folks at “Downton Abbey” have done it right.

The new “Downton Abbey” movie is an astonishingly effective piece of work, one that hits all the notes that made the TV show so successful and then adds a couple of new ones.

Will the movie make sense to anyone who wasn’t glued to PBS on Sunday nights?  Well, maybe, but the real pleasure here comes from continuing our relationships with characters we already know inside out.  It’s like a family reunion…only you actually like hanging with this family.

Writer Julian Fellowes, who created the series and scripted most of its episodes, provides a screenplay that gives almost every member of the huge cast at least one memorable moment and effortlessly balances multiple story threads.

Director Michael Engler deftly handles the pacing and the impressive technical production (he’s in charge of the actors, too but since most of these players have been doing their characters for the better part of a decade, how much coaching could they have required?).

The plot? Well, there are a dozen of them, but the overriding one has the King and Queen visiting Downton. It’s like when the FBI takes over a local murder investigation…Their Majesties’ arrogant retainers invade the Abbey, relegating the resident staff to observer status.  But not for long, thanks to machinations that come off as a more genteel iteration of “Revenge of the Nerds.”

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Keira Knightley

“OFFICIAL SECRETS” My rating: B- 

111 minutes | MPAA rating: R

There are moments when “Official Secrets” doesn’t seem to know just whose story it is telling; others when the dialogue sounds more like speechifying than regular conversation.

Still, there’s something so vital about the material it covers — the British government’s complicity in the Bush White House’s half-assed plan to invade Iraq — that Gavin Hood’s fact-based docudrama demands to be seen.

In 2003 Katharine Gun, an analyst with Her Majesty’s spy service, received an unexpected email.  In this message — also received by all of her co-workers — the American CIA urged everyone to be on the lookout for dirt that could be used to force recalcitrant members of the United Nations Security Council into voting for a US/British invasion of Iraq.

Gun was both surprised that she received the email — her regular gig was translating intercepted Chinese telephone communications — and appalled that the Yanks and her own people were so nonchalantly encouraging the entire apparatus of British intelligence to participate in a blackmail scheme for the purpose of rushing into an unjust war.

So she surreptitiously copied the email and gave it to an anti-war activist friend, who passed it on to a newspaper reporter, who with his colleagues spent months verifying the truth of the communication.

Eventually the story was published, but not without some unexpected blowback.  Before it hit the printed page, an unsuspecting editor ran the copy through Spell Check, which changed all the American spellings in the CIA email to British, thus leading to accusations that this was a British-generated fake document.

Spell Check strikes again.

As scripted by Hood, Gregory Bernstein and Sara Bernstein (from Marcia Mitchell and Thomas  Mitchell’s book The Spy Who Tried to Stop a War), “Official Secrets” is essentially a procedural docudrama populated by an A-list British cast.

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Mia Wasikowska, Matthew Goode

Mia Wasikowska, Matthew Goode

“STOKER” My rating: B- (Opens March 22 at the Glenwood Arts and Tivoli)

99 minutes | MPAA rating: R

“Stoker” represents an extraordinary level of film craftsmanship.

Every shot, every color choice, every cut and transition, the soundtrack – even  the opening credits –suggest an almost obsessive determination to get all the details exactly right. On so many levels the movie is breathtaking.

Given this, why isn’t Korean director Park Chan-wook‘s first English-language film more satisfying?

I think it’s because in trying to give us a classic Hitchcock-style suspense film he (and his writer, the actor Wentworth Miller) has in fact given us a somewhat academic deconstruction of a Hitchcock-style suspense film.

Big difference.

 If you’re looking for thesis material “Stoker” is chock full of allusions, references and outright steals.

But for genuine suspense, go elsewhere.  Unlike Hitch, Park (whose best-known film in this country is probably the incest-and-savagery epic “Old Boy”) doesn’t allow us to identify with his characters. They might as well be specimens of exotic insects in glass jars.

Our heroine is high school senior India Stoker (Mia Wasikowska), whom we meet at the funeral of her beloved father, who has died in some sort of fiery car crash.

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