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Posts Tagged ‘Paddy Considine’

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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Steve Buscemi as Nikita Khrushchev, Jason Isaacs as Zhukov

“THE DEATH OF STALIN” My rating: B+

 107 minutes | MPAA rating: R

Cold War-bred baby boomers may be perplexed to discover that Nikita Khrushchev  — the Soviet bigwig who infamously pounded his shoe on a desk at the United Nations and proclaimed that “We will bury you” — is the hero of “The Death of Stalin.”

Just goes to show: History makes for strange bedfellows.

Make no mistake: Khrushchev, played here by a balding, pudgied-up Steve Buscemi, is presented as a hustling, scheming political climber.  But compared to the forces he’s battling, he’s one of the angels.

Unfolding over several days in 1953, “The Death of Stalin” is history retold as a black comedy.  It was written and directed by Armando Iannucci, the Scottish filmmaker who in 2009 gave us the brilliant sendup of Bush-era idiocy, “In the Loop.”

If anything, “…Stalin” surpasses that effort with its toxic/weirdly entertaining mix of terror, paranoia and manic broken-glass satire.

Iannucci and his co-writers (David Schneider, Ian Martin, Peter Fellows) waste no time in laying out the miseries of Stalin-era USSR.  In a brilliantly edited opening sequence, we hopscotch around Moscow on a chilly March  night.

At Radio Moscow an official (Paddy Considine) freaks out when he gets a phone call from Stalin asking for a recording of that night’s live Mozart concerto. Problem is, the program wasn’t recorded.  The doors are barred, the nervous audience members told to return to their seats (“Don’t worry, nobody’s going to get killed”) and a guest conductor is snatched from his apartment in his pajamas to replace the original maestro, who has knocked himself unconscious by taking a header into a fire extinguisher.

The Radio Moscow man knows that people have been shot for less than failing to produce a recording for the glorious leader.

Meanwhile in the Kremlin, Stalin (Adrian McLoughlin) is busy hobnobbing with his security chief Beria (Simon Russell Beale), whittling down a list of “enemies” to be arrested and disposed of that very night.

“Cracks me up, this one,” Stalin chortles, pointing to one of the names.

Nearby, Communist Party leaders like Khrushchev, Malenkov (Jeffrey Tambor) and Molotov (Michael Palin) trade vodka shots are behaving like boorish frat boys, recycling war stories and trying not to piss off Stalin. (After each meeting with the head honcho, Khrushchev goes over every comment so as to avoid in the future any topics that Stalin finds distasteful.)

The next day Stalin is found lying on the floor, barely alive, the victim of a stroke.

His cohorts are paralyzed by indecision. They can’t even agree on whether to call in medical assistance: “All the best doctors are in the gulag…or dead.” (more…)

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Sennia Nanua

Sennia Nanua

“THE GIRL WITH ALL THE GIFTS”  My rating: B 

111 minutes | MPAA rating: R

The Holy Grail for the makers of cult films is to come up with an original twist on the zombie thriller.

Netflix has a real contender with its new comedy “The Santa Clarita Diet.”  Another, much more serious candidate is “The Girl with All the Gifts,” which provides a big dose of in-the-moment chills and splatter, but even more importantly builds its own satisfying mythology.

Colm McCarthy’s film (the unexpectedly thoughtful script is by Mike Carey, based on his novel) begins in an underground prison somewhere in Britain. Here unfailingly polite 10-year-olds are kept in cells, fed live worms and guarded by armed soldiers who each day cart them off to their classroom strapped into wheelchairs like mini Hannibal Lecters.

We’re introduced to this world through the experiences of Melanie (Sennia Nanua), a bright, thoughtful and eager-to-please child despite her status as  a prisoner.

Each day the kids are taught by Helen (Gemma Arteton), whose curriculum leans heavily on science, though as  a reward for hard work she reads to her captive students from the Greek legends.

Melanie really relates to those fables.  Especial the one about Pandora. And she likes to think of Helen as the mother she never knew.

Not everybody in this prison is so nice to the children. Sergeant Parks (Paddy Considine) loudly refers to them as “freakin’ abortions” and warns his soldiers to never get too close. Meanwhile Dr. Caldwell (Glenn Close) is vivisecting the youngsters one by one.

You see these kids, in the womb when the zombie apocalypse  hit, are half human and half “hungry” (that’s what the flesh-gnawing resurrected are called in this rendition).  They may represent mankind’s only chance for a vaccine to fight the fungoid disease that brought civilization to its knees a decade earlier.

(more…)

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Jesse Eisenberg and...Jesse Eisenberg in "Double"

Jesse Eisenberg and…Jesse Eisenberg in “The Double”

“THE DOUBLE” My rating: C+ (Opening July 4 at the Screenland Crown Center)

93 minutes | MPAA rating: R)

 

Though it is based on a novel by Fyodor Dostoevsky, one could be forgiven for thinking “The Double” is an adaptation of Franz Kafka.

Richard Ayoade’s film gives us a hapless protagonist trapped in a web of illogical but rigid social and political rules. This poor schlub finds himself living in a nightmare from which he cannot awaken.

The problem is that for me dramatizations of Kafka never really work.  They may be well acted, imaginatively mounted, and they may deal with important human issues. But what seems subversive and insightful on the printed page always comes off as a bit silly and, worse, boring when brought to the screen. Kafka-ish yarns are always about an Everyman…and Everymen aren’t all that interesting.

Once in a blue moon a director takes a Kafkaesque situation and makes it both funny and compelling — Terry Gilliam’s “Brazil,” for example.

“The Double” works about half the time, thanks to its depiction of a glum alternative world and a bravura double performance from Jesse Eisenberg. But it can’t quite make it over the hump.

Eisenberg is best known for playing dweebs in films like “Zombieland” and “Wonderland” and — let’s face it — “The Social Network.” Here gets to play not only a disaffected dweeb but also his lookalike tormentor. Two characters that are polar opposites.

And, yes, the kid can act. He’s so good here I wish I liked the movie more.

Simon (Eisenberg) lives in a grungy, ill-lit metropolis in which technology seems to have peaked around 1935.  He’s employed by some sort of government agency ruled by the Colonel (James Fox), a paternalistic Big Brotherish figure in a white uniform. Exactly what this agency does is never made clear, but it must be important since it has a high degree of security. When he leaves his ID at home, Simon has a hard time convincing anyone at work that he’s been coming there for years.  He’s that forgettable.

Our man yearns for success but is totally lacking in the qualities that might bring it. He’s got no self-assurance, creativity, or charisma.

(more…)

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