The Death of Stalin

Based on the graphic novel La Mort de Staline by Fabien Nury and Thierry Robin, The Death of Stalin is a fictionalized story about the death of Joseph Stalin where several of his associates try to figure out what to do with some fighting each other to be the next leader of the Soviet Union. Directed by Armando Iannucci and screenplay by Iannucci, David Schneider, and Ian Martin, the film is a satirical political comedy that explores a power struggle within the Soviet Union as it gets out of control with those wanting to make some changes with others wanting to maintain Stalin’s legacy. Starring Steve Buscemi, Simon Russell Beale, Paddy Considine, Rupert Friend, Jason Isaacs, Olga Kurylenko, Michael Palin, Andrea Riseborough, Adrian McLaughlin, Paul Whitehouse, Dermot Crowley, Paul Chahidi, and Jeffrey Tambor. The Death of Stalin is a wild and farcical film from Armando Iannucci.

It’s 1953 in the Soviet Union as Joseph Stalin is content with his rule until he suffers a cerebral hemorrhage and later dies leaving government officials unsure of what to do next and who should take over as the leader of the Soviet Union. That is the film’s plot as a whole where it is about the death of a leader of a superpower and everyone trying to figure out if they should tell the country that their leader had died as well as who should replace him officially. The film’s screenplay by Armando Iannucci, David Schneider, and Ian Martin with contributions by Peter Fellows explore a real-life event as it is dramatized into a farce that relates to power struggles, conspiracies, and all sorts of shit that happens following the death of a world leader. The story opens with Joseph Stalin (Adrian McLaughlin) listening to a live orchestra as he wants a recording of it where its lead radio broadcaster Yuri Andreyev asks the orchestra to play the entire concerto all over again for Stalin which prompts pianist Maria Yudina (Olga Kurylenko) to slip a note into the recording sleeve that Stalin would find while he listens to the recording.

It is when Stalin would suffer his hemorrhage as Interior Ministry head Lavrentiy Beria (Simon Russell Beale) would be the second person to find Stalin in that state after the maid was the first to report what had happened. Moscow Party head Nikita Khrushchev (Steve Buscemi) and Deputy General Secretary Georgy Malenkov (Jeffrey Tambor) would get the word as they all try to cover things but also contact Stalin’s daughter Svetlana (Andrea Riseborough) and his troubled son Vasily (Rupert Friend) as it leads to more chaos. The film’s script play into these meetings between various officials including the Foreign Minister Vyacheslav Molotiv (Michael Palin) to discuss funeral plans while there’s some backstabbing, scheming, and all sorts of shit about who should be the leader with Beria making Malenkov the new leader of the Soviet Union despite his inexperience in political matters. Many would also question whether Stalin would go for anything that is happening with Khrushchev trying to fix everything as he knows that Beria is causing trouble as he also appeals to a few to get rid of Beria who is threatening everyone with blackmail as a way to maintain his position of power.

Iannucci’s direction is definitely engaging in terms of its usage of hand-held cameras as well as maintain this air of disorder throughout the course of the film. Shot mainly in Britain with some exterior shots set in Kiev, Ukraine as the exterior of 1950s Moscow, Iannucci play into some of the absurdity that goes during the final days of Stalinism where he would shoots scenes of people getting killed though it’s shown mainly off screen while there are these moments of a list of who to kill and such as it is presented in this amazing dolly-tracking shot at a prison. While there’s some wide shots of the location including some striking wide compositions of a few conversations that goes inside the Kremlin and at other places. Much of Iannucci’s direction is intimate with its usage of hand-held cameras to capture some of the conversations whether it’s in a close-up or in a medium shot.

Iannucci also uses a lot of profane language for the film as it play into the frustration and chaos that ensues following Stalin’s death as well as the planning of the funeral that Khrushchev is tasked with. The scene of people walking to see Stalin’s casket for a state funeral where Khrushchev, Beria, Molotiv, Malenkov, and several others are bickering quietly while not facing each other as their backs are surrounding the casket. The film’s third act that would involve the actions of Field Marshal Georgy Zhukov (Jason Isaacs) who adds to chaos while Malenkov believes he has authority where he is in denial over his new role. Iannucci’s approach to the climax relates to this end of an era but also the beginning of something new though the ideas of the old would come to haunt this new era that would play into the demise of the Soviet Union. Overall, Iannucci creates a whimsical yet exhilarating film about a power struggle among government officials following the death of Joseph Stalin.

Cinematographer Zac Nicholson does amazing work with the film’s cinematography with its low-key approach to some of the exterior scenes at night including the streets of Moscow during a funeral march as well as some dazzling lights for some of the scenes at the halls of the Kremlin. Editor Peter Lambert does excellent work with the editing with its usage of jump-cuts to play into some of the humor as well as the film’s chaotic tone. Production designer Cristina Casali, with set decorator Charlotte Dirickx plus art directors Jane Brodie and David Hindle, does incredible work with the interior of Stalin’s home and his office as well as the rooms and halls inside the Kremlin and in the prisons. Costume designer Suzie Harman does fantastic work with the uniforms including the ridiculous white one that Malenkov would wear during the funeral as well the numerous medals that Zhukov wears.

Hair/makeup designer Nicole Stafford does superb work with the look of Stalin as well as the scar in Zhukov’s face. Special effects supervisor Neal Champion, along with visual effects supervisors Laurent Gillet and Ronald Grauer, does terrific work with some of the film’s minimal visual effects including some set dressing for the exteriors to present 1950s Moscow. Sound mixer Martin Beresford does wonderful work with the sound as it is largely straightforward as it also play into the chaos in some of the arguments that is heard in another room as well as the sounds of gunshots from afar. The film’s music by Chris Willis is brilliant for its orchestral score that feature bombastic string arrangements that is similar to the traditional Soviet music of the times while its soundtrack feature an array of classical music pieces.

The casting by Sarah Crowe is great as it feature some notable small roles from Justin Edwards and Nicholas Woodeson as a couple of orchestral conductors for the concerto that Stalin wanted a recording of, Sylvestra Le Touzel as Khrushchev’s wife Nina, Diana Quick as Molotov’s incarcerated wife Polina who is freed after Stalin’s death, Gerald Lepkowski as a young Leonid Brezhnev, and Adrian McLaughlin as Joseph Stalin as this leader who rules with an iron fist until he suddenly falls ill and then dies. The trio of Dermot Crowley, Paul Chahidi, and Paul Whitehouse in their respective roles as deputy chairman Lazar Kaganovich, council chairman Nikolai Bulganin, and political official Anastas Mikoyan as three men who are trying to figure out who to side with as well as ponder what to do next for the Soviet Union.

Rupert Friend is hilarious as Vasily Stalin as Stalin’s alcoholic and unstable son who believes his father’s death was a conspiracy created by Westerners while Andrea Riseborough is fantastic as Stalin’s daughter Svetlana who is trying to make sense of what happened but is also angry over the chaos that is happening where Riseborough gets a few moments to be funny. Paddy Considine is superb as the Soviet radio broadcaster Yuri Andreyev who is trying to get a recording of a concerto to happen while Olga Kurylenko is terrific as pianist Maria Yudina who hates Stalin as she reluctantly re-plays the concerto and later his funeral. Jason Isaacs is excellent as Field Marshal Georgy Zhukov as this no-nonsense military official who is upset over his army being confined to the barracks as he also has some simmering issues with Beria. Jeffrey Tambor is brilliant as Deputy General Secretary Georgy Malenkov who becomes Beria’s puppet as he believes he is going to become the next leader despite his inexperience and denial over the fact that he has no clue on how to run a country.

Michael Palin is amazing as Foreign Minister Vyacheslav Molotov as a political official who was close to Stalin as he deals with the aftermath as well as do some political maneuvering knowing that Beria is a liability to the future of the Soviet Union. Simon Russell Beale is incredible as Interior Ministry head Lavrentiy Beria as this political official trying to maneuver, backstab, and bullshit his way into power while trying to maintain some idea of what he feel could be beneficial to the Soviet Union. Finally, there’s Steve Buscemi in a phenomenal performance as Nikita Khrushchev who was then the Moscow party head as he is trying to figure out what to do next as he is tasked to plan Stalin’s funeral while realizing that he has to take the reins in leading the Soviet Union as it’s a comical and engaging performance from Buscemi.

The Death of Stalin is a spectacular film from Armando Iannucci. Featuring a great ensemble cast, witty commentary on political scheming, gorgeous visuals, and a sumptuous music score and satirical views on history. The film is definitely a wild comedy that isn’t afraid to be profane nor is it trying to follow a historical event in total accuracy in favor of studying a group of individuals fighting for power. In the end, The Death of Stalin is a sensational film from Armando Iannucci.

Related: In the Loop

© thevoid99 2019

Pride (2014 film)

Directed by Matthew Warchus and written by Stephen Beresford, Pride is the story about the British miner’s strike of 1984-1985 where miners reluctantly get the support of gay and lesbian activists who would raise money for the miners. The film is a dramatic account on how the gay and lesbian community get involved as well as display the act of solidarity during one of Britain’s most tumultuous periods. Starring Bill Nighy, Imelda Staunton, Paddy Considine, Dominic West, Andrew Scott, George MacKay, Joseph Gilgun, Menna Trussler, and Ben Schnetzer. Pride is a heartfelt and compelling film from Matthew Warchus.

The British miners’ strike of 1984-1985 was an event in Britain that had miners going against the rule of its then-prime minister Margaret Thatcher over pit closures and pay restraints. It was around this time that the National Union of Mineworkers would receive support but from the most unlikely group of people in the gay and lesbian community who saw the same amount of prejudice and abuse they had received from the police as they offered their own support as an act of solidarity. The film is a dramatic account of this event which is considered a watershed moment for the British gay and lesbian movement but also for the miners strike as well where it took a ragtag group of people who go to a small town in Wales to offer their support and raise money for the miners.

Stephen Beresford’s screenplay talks about the formation of the Lesbians and Gays Support the Miners campaign that started in a gay bookshop by a few activists where they just wanted to donate whatever money to help miners who are on strike and can’t pay the bills. While NUM was at first unwilling to take their money, it was through a small faction in this small Welsh mining town that said yes but unaware of who they’re getting money from as the locals are aghast of who is giving them donations. Still, one of the miners’ local organizers in Dai Donovan (Paddy Considine) would invite them as does the leader of the women’s support group in Hefina Headon (Imelda Staunton) where it took a while for the locals to accept them. Even as the LGSM would find ways to raise more money and awareness despite the fact that there is a lot happening in their own community as it relates to the AIDS crisis as one of them is HIV positive yet has found a way to curb his disease.

Matthew Warchus’ direction doesn’t really go for a lot of style except for a few scenes shot entirely on hand-held to give it a cinema verite feel. Yet, it does maintain a simplicity in not just the compositions but also the setting as it is shot not just in parts of London and its nearby suburbs but also in small towns in Wales to make it feel very real. Warchus would also find something ordinary and make it special as the film does have subplots as it relates to not just miners’ wives trying to do what they can for their husband but also find themselves in their own right. The direction also play into the realities of what is going on in Britain with footage of the news as well as what the tabloids were printing as a way to cause problems between the two factions. Even as a miner’s widow would create further problems upsetting her brother-in-law who is one of the organizers in the strike. Though it’s third act does give the film a bit of a different tone as it relates to not a lot of realities in both the mining and gay community. It does serve as some major moments in a few of its characters as well the fact that these two very different communities come together where they were able to make a difference in a way that is bigger than themselves. Overall, Warchus crafts a lively and engaging film about gay and lesbian activists helping striking miners in their time of need during the 1980s British miners’ strike.

Cinematographer Tat Radcliffe does excellent work with the film‘s cinematography from the vibrant look of London in its clubs and the gay bookshop that the LGSM organizers frequent at to the more drenched yet grey-like color of the small town in Wales. Editor Melanie Oliver does fantastic work with the editing as it does play into style with its usage of jump-cuts as well as some montage-based cutting. Production designer Simon Bowles, with set decorator Liz Griffiths and supervising art director Mark Raggett, does amazing work with the look of the bookshop the LGSM organizers meet as well as some of the clubs they go to and the community hall at the small Welsh town where the miners meet to have meetings. Costume designer Charlotte Walter does brilliant work with the costumes from the colorful look of the members of the LGSM to the more grey and casual look of the miners and their wives.

Hair/makeup designer Nadia Stacey does terrific work with the look of the hairstyles and makeup of some of the members of the LGSM as well as create a straight-laced look for the miners and their families. Visual effects supervisor Hugh MacDonald does nice work with some of the film‘s minimal visual effects which is just essentially set dressing to play into what London looked like in the 1980s. Sound designer Blair Jollands does superb work with the sound in the way some of the parties sound as well as the sparse yet eerie tension heard in a key meeting late in the film. The film’s music by Christopher Nightingale is wonderful for its mixture of low-key orchestral music and guitar-based rock music to play into the period of the times while music supervisor Nick Angel creates a fun soundtrack filled with a lot of the music of the times from the Smiths, Shirley & Company, Bronski Beat, Frankie Goes to Hollywood, Culture Club, Dead or Alive, and Pete Shelley as well as some folk-based pieces from Pete Seeger and Billy Bragg.

The casting by Fiona Weir is phenomenal as it include some notable small roles from Matthew Flynn and Monica Dolan as Joe’s parents, Olwen Medi as Gethin’s mother, Kyle Rees and Jack Baggs as a couple of young miners who go to Jonathan in getting dance lessons so they can get girls, Rhodri Meilir as the miner/co-organizer Martin James, Liz White and Nia Gwynne as a couple of miners’ wives, and the trio of Freddie Fox, Chris Overton, and Joshua Hill as members of the LGSM. Other noteworthy small roles include Karina Fernandez and Jessie Cave as two LGSM members who want to form a splinter group known as Lesbians Against Pit Closures while Lisa Palfrey is terrific as the widow Maureen Barry who isn’t keen on having LGSM at the town as she tries to create trouble only to get the ire of her brother-in-law Cliff. Menna Trussler is wonderful as the elderly widow Gwen who would be the first to take LGSM’s donation as well as find common ground with the lesbians. Andrew Scott is fantastic as LGSM co-founder Gethin who also runs the bookshop with his partner Jonathan as he admits to his reluctance in returning to Wales due to his relationship with his mother where he would eventually find the courage to see her again.

Jessica Gunning is excellent as Martin’s wife Sian who would find her voice in the activism as she would also the person to help the LGSM and miner’s union find common ground. Dominic West is brilliant as the HIV-stricken Jonathan who isn’t sure about what his friends are doing as he helps them while showing the young miners how to dance as a way to pick up women. Joe Gilgun is superb as LGSM co-founder Mike Jackson who would introduce the young Joe to activism as well as be the one to create banners for the cause. Faye Marsay is amazing as Stephanie Chambers who is the lone lesbian of the group who has a wild look but finds herself having more common ground with the miners’ wives where she takes a maternal role for Joe. George MacKay is great as Joe as a college student who finds himself taking on the cause to help the miners while trying to hide his sexuality from his parents where he finally makes a big decision as an adult.

Ben Schnetzer is incredible as the late LGSM co-founder Mark Ashton who is the group’s leader that rallies everyone around to the cause as he sees similarities in the struggles the miners are facing along with the gay and lesbian community as it’s just this riveting breakthrough. Paddy Considine is marvelous as local miners’ leader Dai Donovan who would be the first to meet the LGSM as he is taken aback by them at first only to see that they’re just cool people. Imelda Staunton is radiant as Hefina Headon as the head activist for the miners’ wives who is one of the first to welcome in the LGSM as she sees what they’ve done for the cause as well as realize how fun they are. Finally, there’s Bill Nighy in a remarkable performance as Cliff Barry as a miner who had seen a lot as he is one of the few who welcome the LGSM immediately as well as know what is at stake as it relates to the well-being of the miners and their families.

Pride is a sensational film from Matthew Warchus. Featuring a great ensemble cast, awesome music, and a compelling story that is based on the real British miners’ strike of the mid-1980s. It’s a film that doesn’t just explore a moment in time but also a moment where people came together just to help one another no matter what sexual preference they are. In the end, Pride is a phenomenal film from Matthew Warchus.

© thevoid99 2016

My Summer of Love

Originally Written and Posted at Epinions.com on 6/4/07 w/ Additional Edits.

Based on the novel by Helen Cross, My Summer of Love is the story about a rebellious young woman who begins an affair with a young rich woman who is staying at the British countryside during the summer. Directed by Pawel Pawlikowski and screenplay by Pawlikowski and Michael Wynne, the film explores the world of lesbian relationships as well as a young woman trying to find love while dealing with her born-again brother. Starring Nathalie Press, Emily Blunt, and Paddy Considine. My Summer of Love is a heartfelt yet unconventional love story.

In the English countryside, a young woman named Mona (Nathalie Press) is riding on her motorbike that has no motor as she lays down on a hill. Coming onto the road on a horse is another young woman named Tamsin (Emily Blunt) who looks at Mona where the two walk on the road with Tamsin on her horse. They engage into a conversation where Mona learns that Tasmin lives in a posh home up on the hill above her town. Mona comes home to learn that her former criminal brother Phil (Paddy Considine) is getting rid of all the alcohol in their pub home. Phil has just become a Born-again Christian much to Mona's displeasure. With a boyfriend named Ricky (Dean Andrews), Mona's life is going nowhere and her brother's newfound behavior only increases her alienation.

One day, Mona decides to go to the hill-top home of Tamsin where she finds her playing cello. Immediately, Tamsin and Mona strike up a friendship as Tamsin claims she's still mourning the death of her sister Sadie (Kathryn Summer) while feeling estranged by her parents. Tamsin introduces Mona to Nietzsche while Mona learns that Tamsin's father (Paul Anthony-Barber) is having an affair with his secretary. The friendship gets more intense as Mona shows Tamsin a small-like pond surrounded by rocks in the middle of a forest. The beauty impresses Tamsin as the two's relationship becomes more romantic. Even as Tamsin lets Mona wear her late sister&#146s clothes. Phil meanwhile, begins to see what is going on as Tamsin buys Mona a motor for her bike where the two discuss men including Mona's now ex-boyfriend Ricky.

After learning that Ricky has another life, Tamsin decides to cause trouble. Phil finally comes to Tamsin's home asking Mona to come to prayer meeting where a cross is to be erected on a hill. Tamsin decides to come much to Mona's reluctance as Phil's talks about God and his past life intrigues Tamsin. Though neither women believe that Phil is actually Born-again, they play a mystical game which lead them to the empty room of Sadie and find mushrooms. The relationship intensifies as Phil becomes more concerned as Tamsin attempts to seduce in which, Mona sees Phil's real behavior and only blurs things. Even as Mona becomes more desperate to be with Tamsin as she is forced to clash with her brother's behavior and reality.

The film is really about a lesbian relationship that becomes intense and troubles one's brother. The film is also about loneliness and manipulation through some kind of philosophies and such. The film starts off in the introduction of Mona and Tamsin and Mona's own alienation by her brother and the town around her. The second act is about the relationship between the two young women and its intensity. By the third act, it becomes more about Tamsin and her ability to play with people's mind, notably Phil. Then in the final moments of the film, an element of surprise occurs that really becomes a shocker in relation to the film's entire plot and such. When seen for the first time, it's a shock but loses its element of surprise somewhat after repeated viewing.

Despite that flaw in the film's story, director Pawel Pawlikowski does create some wonderful scenery and compositions. Mostly with a hand-held camera to give the film an energy and realism that isn't seen much in American films which has always been too technical at times. Pawlikowski just goes for emotions in capturing close-ups and scenes. There's also elements in some of the film's exterior settings that feature some wonderfully, naturalistic shots that is obviously inspired by the works of Terrence Malick. Even in those scenes, the film has a very moody, dreamlike feel that is reminiscent to the work of Sofia Coppola. The result is a unique film that is colorful and dreamy along with wonderful wide shots of scenery that is wonderfully shown by Pawlikowski.

Cinematographer Ryszard Lenczewski does some beautiful, colorful work to the film's dreamy look with its high-octane, brightened colors in some of the film&#146s exterior settings and such. Production designer John Stevenson and art director Netty Chapman do an excellent job in creating the exotic look of Tamsin's room. Costume designer Julian Day also shines with the film's costumes with street-clothes of Mona to the more exotic look that Tamsin has. Editor David Charap brings a nice style to the film's pacing while the cuts reveal the intensity of the film's emotion in the relationship between the two women. Sound editor Simon Gershon does amazing work in capturing some of the film's exterior atmosphere of the forest as well as the sounds of cars and motorbikes on hills.

The film's score and soundtrack is assembled by the duo of Goldfrapp in both Allison Goldfrapp and Will Gregory. The duo's score is moody and haunting to convey the film's dream like feel. The duo even contribute a song that opens the film that plays to its exotic, electronic feel. The rest of the soundtrack is a mix of tango cuts, Asian pop music, a classical performance of The Swan performed by Emily Blunt on cello, and a famous song by the legendary Edith Piaf, who is mentioned throughout the film.

The film's cast features small appearances from Paul Anthony-Barber, Kathryn Summers, Michelle Byrne as an acquaintance of Ricky, and Lynette Edwards as Tamsin's mother. Dean Andrews has a small, memorable role as Ricky, Mona's ex-boyfriend who doesn't treat her well and such. Paddy Considine gives a phenomenal performance as Phil, a Born-again Christian who tries to deal with his sister's newfound relationship and his own troubled past.

Nathalie Press is wonderful as the naive, street-smart Mona who is seeking some kind of companionship in her lonely town while dealing with the new life of her brother. Press, who looks a lot like a young Sissy Spacek is amazing to watch as she has great chemistry with co-star Emily Blunt. Blunt gives a fascinating yet complex performance as the worldly Tamsin. Blunt brings a sadness and ethereal tone her performance as she tries to play one minds while being a wonderful companion to Press. It's two great performances from the young actresses that is the highlight of the film.

While it's not perfect, My Summer of Love is still a wonderfully dreamy, intense film from Pawel Pawlikowski. Fans of gay/lesbian dramas will no doubt consider this film a gem while it has something to offer for mainstream audiences. Even as it showcases something that is unique as well as not playing by the rules. In the end, My Summer of Love is truly a gem worth watching.

Pawel Pawlikowski Films: (Last Resort (2000 film)) - (The Woman in the Fifth) - Ida - Cold War

© thevoid99 2013

The World's End

Directed by Edgar Wright and written by Wright and Simon Pegg, The World’s End is the story about a group of friends who try to reclaim their youth by doing a legendary pup crawl in a town only to realize that the town has been taken over by aliens. The third film in an unofficial trilogy known as the Three Flavors Cornetto Trilogy, the film is not a spoof but rather a sci-fi adventure film of sorts where a group of friends try to drink 12 pints in 12 pubs to complete a legendary pub crawl. Starring Simon Pegg, Nick Frost, Paddy Considine, Martin Freeman, Eddie Marsan, Rosamund Pike, and Pierce Brosnan. The World’s End is a very adventurous yet funny film from Edgar Wright.

The film is about a man who is definitely lost in his life as he tries to gather his old friends to try and complete a pub crawl they did over 20 years ago which they attempted to do but never finished. Though they’re all estranged from each other, the five men try to rekindle their old childhood friendship to do this legendary pub crawl in their old hometown of Newton Haven known as the Golden Mile. What happens is that there’s a lot of strange things happening in the town that raises suspicion forcing the men to team up and fight whatever forces they have all the way to the final pub known as the World’s End. It’s a film that plays into one man’s desire to relive the best moment of his life but he hasn’t managed to do anything as an adult as he tries to gather his old friends to relive that moment of their youth.

The screenplay that Edgar Wright and Simon Pegg’s explores not just the element of nostalgia but also how one man seems stuck in his past that he couldn’t deal with the current state of his life as he tries to reclaim his youth by attempting to complete a legendary pub crawl with his estranged friends. While the four other men in the story have grown into adults with pretty fulfilling lives, they’re reluctant to take part in this pub crawl only to become suspicious about the locals in their old home town. It is there that the tone of the film goes from being a study of nostalgia and friendship into a story of survival as these five men fight mysterious beings as it relates to the idea of perfection and such rather than the flaws of humanity. The narrative is quite simple in terms of its structure and plotting but what makes it so engaging is the fact that the story’s heart is about these five men trying to rebuild their friendship amidst the chaos of their situation and complete this legendary pub crawl.

Wright’s direction is quite simple for the most part but does have this element of nostalgia and ambition. Notably in the latter where there’s a lot of sci-fi into the story as well as a sense of adventure that is prevalent throughout the film. Even as it would play to the drama where Wright does find ways to put some humor into these moments but also have odes to such sci-fi classics like The Thing and Invasion of the Body Snatchers. Wright’s approach to nostalgia as he infuses the film with a lot of references to the early 90s as well as the idea of trying to live in the past as a way to showcase the sense of loss that the film’s central character in Gary King (Simon Pegg) is dealing with. Even as he does whatever to get to the World’s End by any means. Wright’s approach to framing is quite simple yet he does put in a lot of things that are quite extraordinary including the film’s climax that involves the mystery of the robots the characters are trying to fight off. Overall, Wright creates a very witty yet sensational film about one man’s attempt to relive his youth.

Cinematographer Bill Pope does excellent work with the cinematography from the look of the town at day to more stylish lights for some of the interior and exterior scenes at night. Editor Paul Machliss does amazing work with the editing by creating a few stylish montages as well as elements of stylish cuts in some of the film‘s comedic and suspenseful moments. Production designer Marcus Rowland, with set decorator Sara Wan and supervising art director Nick Gottschalk, does brilliant work with the different look of the different pubs set for each moment in the journey.

Costume designer Guy Speranza does terrific work with the costumes as most of it is straightforward with the exception of Gary‘s Goth-like clothes. Makeup prosthetics designer Waldo Mason does fantastic work with some of the makeup work to play up some of the freakiness of the alien-robots the characters fight against. Visual effects supervisor Frazer Churchill does superb work with some of the visual effects to play out the chaos of some of the sci-fi moments. Sound designer Julian Slater does nice work with the sound to create some sound effects and moments to play up the chaos of the film. The film’s music by Steven Price is pretty good as it‘s low-key to play out the sense of adventure and suspense with its guitar and orchestral music while music supervisor Nick Angel brings in a fun soundtrack filled with a lot of great cuts from the early 90s like Sisters of Mercy, Happy Mondays, the Stone Roses, Blur, Inspiral Carpets, the Charlatans, Kylie Minogue, the Sundays, James, and St. Entienne as well as a cut from the Doors.

The casting by Nina Gold and Robert Sterne is phenomenal for the ensemble that is featured in the film as it includes appearances from David Bradley as a famous pub drinker the boys knew, Rafe Spall and Alice Lowe as a young couple looking for a house, Michael Smiley as a drug dealer named Reverend Green, Bill Nighy as the voice of a mysterious enigma, and Pierce Brosnan as the men’s old schoolteacher Guy Shepherd. In the roles of the young characters, there’s Thomas Law as the young Gary, Zachary Bailess as the young Andy, Jasper Levine as the young Steven, Luke Bromley as the young Oliver, James Tarpey as the young Peter, and Flora Slorach as the young Sam as they’re all quite good in those roles. Rosamund Pike is wonderful as Oliver’s sister Sam who becomes suspicious of what is going around the town as she tries to help the guys get out of town.

Eddie Marsan is terrific as Peter as a family man/car salesman who is still dealing with the trauma of being bullied as a kid while trying to comprehend the chaos of the situation. Martin Freeman is excellent as Oliver as a real-estates agent who isn’t sure about taking part as he’s trying to deal with his business while later becoming more outrageous as the film goes on. Paddy Considine is amazing as Steven as a man who holds a torch for Sam as he tries to deal with Gary’s immaturity and the chaos of the situation. Nick Frost is brilliant as Andy as a corporate businessman who was once Gary’s closest friend as he is the most reluctant to take part in the pub crawl only to go insane in battling the robots and confronting Gary about his problems. Finally, there’s Simon Pegg in a marvelous performance as Gary King as this immature yet troubled man-child who tries to rally everyone to complete the pub crawl while being evasive as he’s often lying or just doing something where it’s a really funny performance from Pegg.

The World’s End is a fantastic sci-fi adventure film from Edgar Wright that features a brilliant ensemble cast led by the duo of Simon Pegg and Nick Frost. The film isn’t just a fitting conclusion to their Three Flavors Cornetto Trilogy but also a great ode to the sci-fi adventure films while infusing it with smart and heartfelt humor. In the end, The World’s End is a sensational film from Edgar Wright.

Edgar Wright Films: (A Fistful of Fingers) - Shaun of the Dead - Hot Fuzz - Scott Pilgrim vs. the World - Baby Driver - The Sparks Brothers - Last Night in Soho

© thevoid99 2013

In America

Directed by Jim Sheridan and written by Jim, Kristen, and Naomi Sheridan, In America is the story of an Irish family moving to New York City’s Hell’s Kitchen area to start a new life following the loss of their young son. There, they encounter the hardships of a new land while befriending an AIDS-stricken neighbor. The film is an exploration into the world of immigration told in the eyes of a young girl. Starring Paddy Considine, Samantha Morton, Djimon Hounsou, and introducing Sarah and Emma Bolger. In America is a heartwarming film from Jim Sheridan.

Following the death of their son Frankie, Johnny Sullivan (Paddy Considine), his wife Sarah (Samantha Morton), and their two daughters Christy (Sarah Bolger) and Ariel (Emma Bolger) arrive to America to start a new life. Finally arriving in New York City, the Sullivans arrive at Hell’s Kitchen to live in an apartment filled with all sorts of people as Sarah got a job working at an ice cream parlor while Johnny tries to go to auditions to land acting jobs as he eventually becomes a cab driver. Though they struggle to get by, the Sullivans continue to live a decent life as Christy chronicles everything through her camcorder. Especially as things become tense between Johnny and Sarah over Frankie’s death when Sarah learns she is pregnant.

After meeting an AIDS-stricken painter named Mateo (Djimon Hounsou), the family enjoys his company though Johnny struggles to deal with his lack of emotions about everything. Yet, he eventually grows fond of Mateo’s presence as he await the birth of his new baby as he realize there’s a risk about the baby coming early or coming later which could mean some issues for Sarah in the later. When the baby arrives sooner than expected, Christy is willing to take a risk to save the baby as the family awaits for what will happen while pondering about what will happen to the ailing Mateo.

The film is about an Irish family coming to America to start a new life as they deal with near-poverty, cultural differences, and grief following the loss of their son to a brain tumor. There, they meet a painter suffering from AIDS while the family also deal with each other in an apartment in the Hell’s Kitchen area in New York City in the span of a year. It’s a story that is very universal about family trying to live the American dream in a world that is foreign to them. Yet, a lot of it is told from the perspective of a child who is granted three wishes from her late brother which she uses carefully in crucial parts of the story that includes a scene of Johnny trying to win Ariel an E.T. doll.

The screenplay is told in a very loose fashion as Christy chronicles everything not just on her camcorder but her memories as she is trying to see her parents deal with grief while caring for her younger sister as they deal with their new surroundings. Notably in a scene where their mother and a friend from the ice cream parlor made Halloween costumes while all of the kids at the Catholic school were costumes that were bought to express the alienation between the sisters and the other kids. Yet, it’s part of their development as the family would find a friend in Mateo who feels alienated because of his disease yet is warmed by the presence of Christy and Ariel.

Jim Sheridan’s direction is truly magical in the way he shoots the film with a great sense of beauty and realism as some of it shot with a camcorder to present Christy’s perspective of everything she is seeing past and present. Shot on location in New York City where it serves as a character of its own, Sheridan’s fluid direction definitely wanders around the location while he creates key scenes to help move the story forward or to make proper introduction of characters such as the scene where the girls meet Mateo for the first time. While a lot of the presentation is simple, the way Sheridan plays out the drama and some of the more lighter moments of the film is to have the actors be natural as they can be. While some of the moments do revel in sentimentality, it’s earned because of the grief that surrounds the film as well as the fact that it’s a story about a family. Overall, Sheridan creates a truly dazzling and touching film that explores the life of an Irish family in America.

Cinematographer Declan Quinn does a brilliant job with the film‘s photography from the grainy video camera look of the camcorder camera shots to the more pristine look of the NYC locations for its exterior settings as well as some wonderful shots for some of the film‘s interiors. Editor Naomi Geraghty does excellent work with the editing in creating stylish montages to play up some of the drama and light-hearted moments of the film as well as some straightforward cuts to play out the drama. Production designer Mark Geraghty, along with set decorator Johnny Byrne and art director Susie Cullen, does fantastic work with the set such as the look of the Sullivans‘ apartment as well as apartment of Mateo.

Costume designer Eimer Ni Mhaoldomhnaigh does very good work with the costumes as a lot of it is very casual to play up to the seasons of NYC. Sound editor Nigel Mills does superb work with the sound from the scene where the Sullivans arrive to New York City to hear an array of sounds coming from the car radio. The film’s score by Gavin Friday and Maurice Seezer is terrific for its low-key sound filled with xylophones and soft brass instruments to play up the whimsy along with some low-key electronic music for some of its dramatic moments. Music supervisor David Donohue creates a soundtrack that filled with different kinds of music ranging from rock like the Lovin’ Spoonful, the Byrds, and a cover of the Eagles’ Desperado, sung by Sarah Bolger, along with Latin and classical music as well as an original song in Time Enough for Tears co-written by Bono and sung by Andrea Corr of the Corrs that truly expresses the film as a whole.

The casting by Sally Osoba is phenomenal for the ensemble that is created as it features some notable small appearances from Juan Carlos Hernandez as tenant named Papo and Merina Millsapp as Sarah’s ice cream parlor friend Marina. Emma Bolger is wonderful as the young Ariel who tries to understand everything around her as she is the first one to connect with Mateo. Sarah Bolger is amazing as Christy who tries to observe everything around her while giving answers to Ariel about the way the world works. Djimon Hounsou is great as Mateo, a mysterious painter who is first heard screaming as he becomes this angry man who suddenly is greeted with warmth by this family. Samantha Morton is superb as Sarah who tries to come to terms with Johnny’s lack of emotion as well as dealing with her own pregnancy. Paddy Considine is excellent as Johnny who tries to deal with his lack of emotions as well as the grief he’s dealing with as it’s a very lively performance from Considine.

In America is an extraordinary film from Jim Sheridan featuring an outstanding ensemble cast and a touching story that audiences will relate to. It’s a film that is very accessible in the way family are played out in all sorts of dysfunctions as well as a truly compelling film about how immigrants integrate themselves into the new world. For fans of Jim Sheridan, the film is definitely his most accessible feature as he brings a truly personal feel to this story. In the end, In America is a marvelous film from Jim Sheridan.

Jim Sheridan Films: (My Left Foot) - (The Field) - (In the Name of the Father) - (The Boxer) - (Get Rich or Die Tryin’) - (Brothers (2009 film)) - (Dream House)

© thevoid99 2012

24 Hour Party People

Directed by Michael Winterbottom and written by Frank Cottrell Boyce, 24 Hour Party People is the story about the rise and fall of Factory Records from the late 1970s to the early 1990s told by its founder in a Granada TV reporter named Tony Wilson. The film explores Wilson’s desire to showcase something new in the advent of punk as he would launch the careers of acts Joy Division/New Order and the Happy Mondays all hailing from the city of Manchester. Starring Steve Coogan, Shirley Henderson, Lennie James, Paddy Considine, Danny Cunningham, Paul Popplewell, Sean Harris, and Andy Serkis. 24 Hour Party People is a whimsical yet truly original docu-drama from Michael Winterbottom.

Tony Wilson (Steve Coogan) is an unhappy reporter for Granada TV as he attends a local concert with his wife Lindsay (Shirley Henderson) and friend Alan Erasmus (Lennie James) where playing at the show were the Sex Pistols. Along with many soon-to-be-famous figures attending this legendary concert, Wilson creates a show called So It Goes that becomes a hit in Manchester as it explored this new wave of artists emerging from the punk scene. Tony decides to end the show in order to create a showcase for local bands as it would include Joy Division managed by Rob Gretton (Paddy Considine). Though Tony would later have a liasons with a couple of hookers, Lindsay would in turn have sex with the Buzzcocks’ Howard Devoto (Martin Hancock). With the help of Erasmus and Gretton, Tony decides to form his own label called Factory Records as he signs Joy Division to the label.

Joy Division becomes a success, with the help of its troubled producer Martin Hannett (Andy Serkis), but the health issues of its singer Ian Curtis (Sean Harris) nearly derails everything as a tour to the U.S. is about to happen. Instead, Curtis’ suicide would end things as Lindsay leaves Tony who forges ahead with the label’s next venture in a club called the Hacienda. With Hannett gone from the Factory Records label and Tony unsure about the label’s future as well as the future of the Hacienda. Joy Division is revived as New Order where their song Blue Monday becomes a hit despite the expensive packaging by Peter Saville (Enzo Cilenti). Then a new local band emerged in the mid-1980s called the Happy Mondays would arrive with a new sound as Tony signs them to the label.

With Hannett returning to produce the Mondays’ second album Bummed, a new culture was emerging as Manchester became the capital of cool while the local music scene became massive. The Hacienda becomes the place to party as Tony becomes enamored with success and gains a new girlfriend in beauty queen Yvette Livesey (Kate Magowan). Yet, things would eventually fall apart due to financial mismanagement, Martin Hannett’s death, and the drug use of Happy Mondays’ vocalist Shaun Ryder (Danny Cunningham). All of this would force Tony to do something that would be against everything he stood for.

Most music bio-pics or stories about a certain music scene/time period often deviates to certain formulas. What made this film stand out from the rest is the fact that it doesn’t play by the rules. Instead, the fourth wall is often broken by its protagonist Tony Wilson as he would comment on everything that is happening in this 16-year period of success and failure. At one point, the real Tony Wilson appears directing a TV show as its doppelganger would point him out to emphasize the absurdity of this film. While Wilson may claim that he’s just a supporting character in this film as it’s about the music and the men who made that music. There is clearly no doubt that he is the most interesting person in that story.

Frank Cottrell Boyce creates a screenplay that plays with the rise-and-fall formula by doing the one thing most music bio-pics or docu-dramas often do which is to take dramatic liberties with the real story. It’s something that is frowned upon by music critics and historians who feel that it takes away from the real story. What Bryce does is that he plays up to these exaggerations by having the audience be aware that some of the moments that is shown on screen is an exaggeration. One key scene is where Tony catches his wife Lindsay having sex with Howard Devoto as there’s a janitor stating “I don’t remember any of this happening”. That person is the real Howard Devoto as Tony would later admit that it never happened but Tony would counter that by stating that he’s sticking to the legend of what happened.

It’s the exaggerations, breaking the fourth wall, and not playing by the rules that allows the story to be more than just what it is expected in its genre. Boyce’s script is filled with lots of humor as well as pretty accurate portrayals of the individuals who would help contribute to the history of British popular music. Ian Curtis is portrayed as a troubled genius. Shaun Ryder is portrayed as a drug-addicted writer that Tony claims is the greatest Poet since Yeats. Rob Gretton is portrayed as a short-tempered man who is willing to get into fights with everyone. Peter Saville is known as a guy who creates these great posters and art work yet would often miss the deadline. Then there’s Tony Wilson who is portrayed as many characters would often call him. A twat. Yet, it’s a very comical character of a man whose principle about giving the artist the freedom to fuck off while just wanting a fair share of whatever profits are made.

Michael Winterbottom’s direction is definitely filled with style as he creates a film that plays up to its off-the-wall story. Shooting on location in Manchester, Winterbottom aims for the authenticity of that city as he would also create a look that is very engaging and vibrant. Notably as all of it shot on digital with elements of grain to heighten the look of the different periods that is displayed in the film. Featuring re-creations of the TV programs that Tony Wilson hosted inter-cut with actual archival footage of those programs. Winterbottom gets a chance to re-create a period in time that is never going to be replicated.

Another key element of Winterbottom’s direction is the comedy as Winterbottom opens the film with Tony Wilson reporting about hang gliding that is presented with Wilson acting like a moron. A lot of the humor is mostly improvised in order to not go for cheap gags while some of it is quite dark. The scene where Shaun Ryder meets Bez (Chris Coghill) for the first time via UFO is among one of the film’s most surreal moments as well as another scene involving Shaun and his brother Paul (Paul Popplewell) who throw bread to pigeons as if it was a war film. The overall work that Winterbottom does is truly phenomenal in terms of its emphasis to re-create a period in time and tell it with great humor.

Cinematographer Robby Mueller does an excellent job with the film‘s grainy digital photography to play up the grimy look of the 1970s and 1980s for its exteriors to the more colorful lighting set-ups in the Hacienda nightclub scenes along with black-and-white shots for some of the musical performances. Editor Trevor Waite does an amazing job with the film’s editing in creating unconventional rhythms for the film’s pacing while utilizing stylish cuts for some of the film’s transition and music scenes. Production designer Mark Tildesley, along with set decorator Lucy Howe and art director Paul Cripps, does great work in the re-creation of the Hacienda club for its interiors as well as the other club in the late 1970s where Tony presented the bands of Manchester.

Costume designers Stephen Noble and Natalie Ward do fantastic work with the costumes made from the bellbottoms of the 1970s to the more baggy clothing of the late 80s/early 90s. Makeup designers Janita Doyle and Jill Sweeney do wonderful work with the hair and makeup design for some of the characters, notably the Martin Hannett character, to emphasize the changing times throughout the film. Sound editor Zane Hayward does amazing work with the sound pieces such as the atmosphere of the Hacienda nightclub to the musical performances that occur in the late 70s set pieces.

Music supervisors Liz Gallacher and Pete Tong create a truly phenomenal soundtrack from start to finish that truly explores the best of what the music scene had to offer from 1976 to the early 90s. With music ranging from punk, house music, Madchester, post-punk, and new wave. It’s a truly intoxicating soundtrack to listen to as it features music from the Sex Pistols, the Durutti Column, A Certain Ratio, Joy Division/New Order, the Happy Mondays, 808 State, the Clash, A Guy Named Gerald, the Buzzcocks, the Jam, and many others. It’s definitely one of the great film soundtracks of the last decade.

The casting by Wendy Brazington does a truly outstanding job with assembling the film’s cast and cameos that appear for this film. Among those making cameos are the real Tony Wilson as a TV director, Happy Mondays bassist Paul Ryder as a drug dealer, Stone Roses bassist Mani, Mark E. Smith of the Fall, Clint Boon of Inspiral Carpets, Vini Reilly in a very brief cameo, Keith Allen as London Records executive Roger Ames, Kenny Baker of Star Wars as a zookeeper, Martin Hancock as Howard Devoto, DJ Mike Pickering, Happy Mondays backing vocalist Rowetta, and Howard Devoto as the janitor who calls out on his supposed tryst with Lindsay Wilson. Notable small appearances include Simon Pegg as a guard, Rob Brydon as a journalist, Peter Kay as club owner Don Tonay, Kate Magowan as Tony Wilson’s third wife Yvette, Dave Gorman as local icon John the Postman, and Enzo Cilenti as the always late graphic designer Peter Saville.

Playing the members of Joy Division/New Order, John Simm, Ralf Little, and Tim Horrocks are very good in their respective roles of Bernard Sumner, Peter Hook, and Stephen Morris while Sean Harris gives a very haunting performance as Ian Curtis. In the part of the members of the Happy Mondays, Paul Popplewell and Chris Coghill are funny in their respective roles as Paul Ryder and Bez while Danny Cunningham is hilarious as drug-out sleaze-bag Shaun Ryder. Shirley Henderson is really good as Tony’s first wife Lindsay while Lennie James is terrific as Factory Records co-founder Alan Erasmus.

The film’s best supporting performances go to both Andy Serkis and Paddy Considine in their respective roles as producer Martin Hannett and Joy Division/New Order manager Rob Gretton. Serkis brings a very dark yet comical performance as the very brash Martin Hannett who serves as a fellow troublemaking confidant to the Mondays. Considine brings a wonderful sense of humor to the role as the short-tempered Gretton who is always ready to beat someone up and isn’t afraid to say anything. Finally, there’s Steve Coogan in a truly marvelous performance as the late Tony Wilson. Coogan brings a great sense of wit and swagger to a man that is kind of an idiot while proving to be an ambitious fuck-up. It’s definitely the best performance that Coogan has given in his career.

24 Hour Party People is a truly fun yet ravishing musical docu-drama from Michael Winterbottom. Thanks in part to a truly brilliant ensemble cast led by Steve Coogan along with Frank Cottrell Boyce’s whimsical screenplay. It is definitely one of the great films about a piece of musical history that explores the world that would help shape the British indie scene. Particularly as the film serves as a great introduction to Madchester, punk, post-punk, and house music thanks in part to a top-notch soundtrack. In the end, 24 Hour Party People is an extraordinary film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - Wonderland (1999 film) - The Claim - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine (2009 film) - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of An Angel)

Related: Control (2007 film) - Favorite Films #8: 24 Hour Party People - Joy Division (2007 film)

© thevoid99 2012

Red Riding: 1980

Based on David Peace’s Red Riding Quartet about the Yorkshire Ripper Murders, Red Riding: In the Year of Our Lord 1980 is the second part of a trilogy of films about the investigation of the murders. Directed by James Marsh and screenplay by Tony Grisoni, the film is about a police officer who begins the investigation of the murders that is continuing to happen. It is there he finds resistance from the Yorkshire police as he goes further into the corruption that is surrounding the force. Starring Paddy Considine, Jim Carter, Sean Harris, Maxine Peake, Warren Clarke, and David Morrissey. Red Riding: In the Year of Our Lord 1980 is a compelling crime drama from James Marsh.

It’s 1980 as the Yorkshire Ripper killings continue as pressure mounts on the Yorkshire police force. The West Yorkshire Constabulary bring in Peter Hunter (Paddy Considine), an investigator from Manchester, to lead the investigation. With help from John Nolan (Tony Pitts) and Helen Marshall (Maxine Peake), Hunter takes charge of the investigation as he’s under watch from Harold Angus (Jim Carter) who puts Bob Craven (Sean Harris) to assist them. Craven remains evasive as Hunter asks Nolan and Marshall to look into the stories of the victims as Marshall learns about a woman named Clare Strachan (Kelly Freemantle) who was killed in 1977.

Hunter wants more questions as he believes something isn’t right while he’s haunted by the fact that he had previously been part of an investigation over a nightclub massacre six years earlier. Hunter remembers Craven from that investigation who was one of the survivors along with another officer in Tommy Douglas (Tony Mooney). Believing there’s a link between the Ripper murders and the nightclub massacre, Hunter tries to ask Douglas while he gets some answers about Strachan from a male prostitute named BJ (Robert Sheehan) and Reverend Laws (Peter Mullan) who introduces him and Marshall to Mrs. Hall (Julia Ford). Mrs. Hall provides answers about her late husband and Clare who was possibly murdered by a copycat.

With Marshall dealing with personal issues, Hunter tries to figure out why she’s talking to Laws as he continues the investigation. After talking to a couple of investigators Prentice (Chris Walker) and Alderman (Shaun Dooley), Hunter learns that something isn’t right as he confronts Maurice Jobson (David Morrissey) about what side he’s on. Things get worse for Hunter as he and his wife (Lesley Sharp) returned home from a Christmas party when he loses his home to a fire. Believing something is going on as a man has been captured for the murders, Hunter learns something from BJ about the night of the nightclub murders. Realizing that one of the survivors know who were involved, what he discovers is something far more terrifying.

In this second part of a trilogy of films about the Yorkshire Ripper murders, it’s the story of a man trying to keep the investigation going only to find loose ends over a previous investigation he was part of and why it’s connected to the corruption from within the police force. During this investigation, he’s dealing with his own issues including feelings for a fellow cop with whom he used to go out with. At the same time, he recalls his own investigation at the nightclub shooting which he had to leave for personal reasons. Yet, Peter Hunter is a man that is flawed but also trying to do the right thing as he even begins to confront the men he believe are responsible for making things complicated. Tony Grisoni’s script definitely weaves its way as it brings in characters from the previous film to maintain continuity but also uses flashbacks to emphasize Hunter’s yearning to solve the case.

Director James Marsh creates a different film than its predecessor for creating a look that is broader and more polished as he films it in 35mm with a theatrical aspect ratio of 2:35:1 for widescreen. Yet, he maintains the suspense of the first film but it’s more restrained as it’s all about trying to figure out this murder that was supposedly done by a copycat and its connection to the nightclub murders. Marsh’s direction is entrancing and brooding for its suspense while creating eerie angles and shots to create the sense of dread throughout the film. The overall direction is definitely phenomenal as Marsh creates something that is engaging and harrowing.

Cinematographer Igor Martinovic does an excellent job with the film‘s chilling yet dark photography. Shot mostly with dark blue colors for the daytime scenes with naturalistic but brooding lighting for the nighttime scenes. Notably the scenes on location at West Yorkshire as it creates something that is unsettling and eerie. Editor Jinx Godfrey does a fantastic job with the editing where he adds a bit of style by including a few jump-cuts for some intense, surreal scenes while a lot of it is mostly straightforward.

Production designer Tom Burton and art director Sami Khan do a great job with the look of 1980 Yorkshire with the cars and clothes worn that is less stylish than its predecessor along with objects to reflect the new decade that was the 80s. Costume designer Charlotte Walter does a good job with the costumes by toning down the style for something more casual and refined as it reflects the dark mood of the film. Sound editor Paul Davies does a superb job with the sound work to convey the tense atmosphere of the locations as well as silence that underscores the suspense. The music score by Dickon Hinchliffe does an incredible job with the film’s somber yet hypnotic score filled with melodic guitars and pianos meshed with a low, screeching orchestra to play up the suspense of the film.

The casting by Nina Gold is wonderful for its large ensemble cast as it features appearances from Eddie Marsan in a flashback scene as the sleazy journalist Jack Whitehead, James Fox as a local politician, Peter Mullan as Reverend Law, Robert Sheehan as BJ, Kelly Freemantle as Clare Strachan, and Lesley Sharp as Peter’s wife. Other notable small appearances include Warren Clarke as Bill Molloy, Jim Carter as Harold Angus, Tony Mooney as Tommy Douglas, and David Morrissey in a slightly bigger role as the quiet Maurice Jobson. Julia Ford is very good as Mrs. Hall, a former hooker whose husband was a pimp as she gave Hunter evidence while Sean Harris is excellent as the secretive Bob Craven. Chris Walker and Shaun Dooley are superb as two corrupt investigators who are part of the cover-up as they bring an intimidating presence while Tony Pitts is wonderful as Hunter’s longtime partner John Nolan.

Maxine Peake is very good as Hunter’s partner Helen Morris, a woman who finds herself dealing with personal issues as she becomes a bit evasive towards Hunter though she is aware that he still has feelings for her. Paddy Considine is brilliant as Peter Hunter, an investigator trying to finish the nightclub shooting incident investigation he was given six years before while trying to uncover the link between the murder of a young woman. It’s a powerful performance from Considine that is also very restrained as a man trying to do what’s right only to get himself in extreme danger.

Red Riding: In the Year of Our Lord 1980 is a chilling yet provocative film from James Marsh. Featuring a superb performance from Paddy Considine, it is a film that maintains the intrigue of its predecessor while paving the way for the climatic conclusion in the third film. Audiences that love mysteries will no doubt enjoy this as a smart yet exhilarating crime film. In the end, Red Riding: In the Year of Our Lord 1980 is a powerful film from James Marsh.

Red Riding Trilogy: Red Riding: In the Year of Our Lord 1974 - Red Riding: In the Year of Our Lord 1983

© thevoid99 2011

Hot Fuzz

Originally Written  at Epinions.com on 4/21/07 with minor edits.

In 2004, British director Edgar Wright and his co-screenwriter Simon Pegg scored a massive cult hit with a zombie movie spoof Shaun of the Dead. The film, that also starred their Spaced co-stars Nick Frost and Jessica Stevenson, was a spoof and homage to the zombie films of George Romero that brought laughs and new energy to the genre. The film's cult success grew as fans anticipated for the next Wright/Pegg project. In 2007, the duo along with Frost re-teamed to create another spoof, the buddy cop movies for the film Hot Fuzz.

Directed by Edgar Wright and co-written with Simon Pegg, Hot Fuzz is about a cop who gets transferred to a quiet British town where his new partner is the chief's inept son. Learning of a crime plot going on in the quiet little town, the two action-film loving cops decide to take on the crime itself with style. An homage yet satire of every cop film and its cliches, Hot Fuzz revels in its humor and love of action with Pegg and Nick Frost playing the lead characters. Also starring Jim Broadbent, Paddy Considine, Anne Reid, Bill Nighy, Timothy Dalton, Billie Whitelaw, along with cameos from Steve Coogan, Martin Freeman, Stephen Merchant, and two other cameos by big stars (not going to tell ya). Hot Fuzz is a funny, satirical action-comedy that pays homage and laughs to the American action film genre.

Nicholas Angel (Simon Pegg) is a police officer in London. So good, so dedicated, that he makes everyone in the police force look bad. Really bad. Angel's dedication is so powerful that his superiors (Martin Freeman, Steve Coogan, and Bill Nighy) decide to transfer him to a sleepy village in the North of England called Sandford. Angel is forced to move as his ex-girlfriend (Ecat Chettblan) has moved on with a new boyfriend. Arriving into Sandford, his new superior Inspector Frank Butterman (Jim Broadbent) introduces him to the local force that includes Angel's new partner and Butterman's son Danny (Nick Frost). The town hasn't had a recorded murder for twenty years as Angel finds himself out of place with the town. Even by his local forces that included detectives Andy Wainwright (Paddy Considine) and Andy Cartwright (Rafe Spall), officers Doris Thatcher (Olivia Colman) the aging Bob Walker (Karl Johnson) and Tony Fisher (Kevin Eldon).

Angel also has gotten the attention of local supermarket owner Simon Skinner (Timothy Dalton), who has been saying mysterious things, while being head of the Neighbourhood Watch Alliance along with Joyce Cooper (Billie Whitelaw), Dr. Robin Hatcher (Stuart Wilson), Reverend Phillip Shooter, (Paul Freeman) and Tom Weaver (Edward Woodward) who surveys everything in the town. Angel also meets local florist Leslie Tiller (Anne Reid), journalist Tim Messenger (Adam Buxton), and local millionaire George Merchant (Ron Cook). Angel finds himself getting into weird situations including trying to get a swan for its owner (Stephen Merchant) as he wonder where is the crime. Then after stopping a couple (David Threlfall & Lucy Punch) for speeding, he learns that Inspector Butterman wants Angel and Danny to go see them at their play. Then, a murder has occurred but has been covered up as an accident. Angel doesn’t believe it was an accident though the rest of the police staff laugh it off.

Feeling no respect for his work, only Danny seems to become his friend despite his lack of experience. Yet, Danny’s love for American action films including Point Break and Bad Boys II gives Angel something to take a break off. Then when another murder occurred at George Merchant's home, Angel becomes suspicious. Even more when more are murder including one witnessed by Angel, Angel wants to know what goes on. He suspects Skinner for the killings but doesn't get any proof. With Danny being the only help he has, he doesn't get any respect from anyone including Inspector Butterman who believes it's all a bunch of accidents. Angel continues his investigations where after an attack by one of Skinner's henchmen. He then learns not only that Skinner is involved but other people as well including those from the N.W.A. and a surprise member. There, Angel, Danny, and the rest of the force decide to get the law into order and with a bang.

When people see action films, they don't expect anything serious but blow-them-up and lots of stunts. Yet, they can get too serious and end up becoming parody. In the case of this film, Edgar Wright and Simon Pegg doesn't exactly take a p*ss on the American action genre. They glorify them while making fun of every cliche that's been seen in those films and have fun with them. The film's plot is easy to follow though a bit slow at times to move the story. It's only because the character of Angel is merely a satire of the cops seen on action films who takes himself too seriously at times and not be loose at the same time. Then when he is influenced by the action films Danny shows him, he becomes a different animal.

Edgar Wright clearly goes for style with this film rather than substance. Yet, it all works to convey the humor of what he's trying to do. He’s taking a p*ss at every cliche, every action film shot, every buddy cop movie. Yet, it's all in good fun. Even getting the likes of respected, British actors like Billie Whitelaw, Anne Reid, Jim Broadbent, Stuart Wilson, Ron Cook, and Edward Woodward to do something that isn't expected of them. It's because he knows that these actors are often seen in British dramas or Shakespeare but here, he lets them have guns, shoot people, and whatever. All in good fun. Plus, there's moments of gore that's also a bit extreme for the American action fan but that's the way the British does it. In some respects, Wright knows what he's doing and he's giving the audience something to have fun with while paying some respect to action directors and such.

Cinematographer Jess Hall does excellent work with the stylish, slow-mo camera work that's often done in action films while bringing a colorful look the British village. Editor Chris Dickens even goes for style with the kind of rapid-cutting that's seen in a lot of action films that are hyper-kinetic. There at least, the editing is all in good fun and plays to that action film style. Production designer Marcus Rowland and Liz Griffiths add a nice look to the film’s countryside while costume designer Annie Hardinge brings a nice look to the British cop clothes. Makeup artist Candice Banks does great work in playing with the gore as well as those cool mustaches Paddy Considine and Rafe Spall wear. Sound designer Craig Butters and sound editor Julian Slater play off to the film's action style in its sound while visual effects supervisor Richard Briscoe does some great special effects for some of the film's action scenes. Composer David Arnold also plays off to the genre with a stylish, orchestral score. The film's soundtrack also has kick with music by Adam Ant, XTC, Supergrass, the Kinks, Sweet, Arthur Brown, and Jon Spencer to add energy to the film.

The film's cast couldn't have been inspiring. The cameos from Steve Coogan, Martin Freeman, Bill Nighy, Stephen Merchant, and an Academy Award-winning director (ain't telling you), along with an Academy Award-winning actress (still ain't telling you) are funny to watch. The performances from veteran actors like Stuart Wilson, Anne Reid, Ron Cook, Edward Woodward, Billie Whitelaw, and Paul Freeman are fun to watch as they engage themselves in gore and have fun shootouts without taking themselves too seriously. Other small performances from Tim Barlow as Skinner's henchmen, Alice Low as Skinner's secretary, David Threlfall, Lucy Punch, and Adam Buxton are excellent. Fellow cops Olivia Colman, Karl Johnson, and Kevin Eldon are given some great funny moments as well as some great action scenes. Paddy Considine and Rafe Spall are hilarious as the mustache Andys who play the detective who love to make fun of Angel and his city-ways.

Jim Broadbent is wonderfully funny as the easy-going yet shady Inspector Butterman who doesn't want to believe anything that's wrong while trying to make Angel fit in. Broadbent is given great moments in both the action scenes and in the funny stuff where's given a lot to do and have fun at the same time. Playing against the James Bond role he's known for, Timothy Dalton is great as another shady individual as the villainous Skinner who is trying to do anything but to cover up his plans. Dalton is great while getting to do things he wouldn't have done as Bond, where he looks like he's having fun.

Nick Frost is really the funniest person on film. His character doesn't take things seriously and is like a kid when it comes to action movies and idolize them. He's like the cop that wants to be the superbad cop he idolizes in the cop movies. Frost brings a lot of fun to the role and makes himself relatable to audiences. Simon Pegg is also great as the straight man of the film who takes himself too seriously when doing things as Pegg really shows more of a dramatic side. When his character decides to go badass, he really sells it with a lot wit and humor. The chemistry of Frost and Pegg are just a joy to watch as they make themselves one hell of a comedy duo.

While not as funny as Shaun of the Dead, Hot Fuzz is still a hilarious, witty action-comedy from the duo of Edgar Wright and Simon Pegg. With great comedy assistance from Nick Frost and a great cast of respected British actors, it's a film that gives the audience what they want. Loads of laughs and lots of violence, it's just a film that action fans can enjoy without taking it too seriously. In some ways, the British just know how to do the genre a bit better without being too serious while adding more gore to the festivity. In the end, for a film that brings laughs and a great experience to cheer, Hot Fuzz is the film to see.

Edgar Wright Films: (A Fistful of Fingers) - Shaun of the Dead - Scott Pilgrim vs. the World - The World's End - Baby Driver - The Sparks Brothers - Last Night in Soho

© thevoid99 2010