The Martian

Based on the novel by Andy Weir, The Martian is the story of an astronaut who is accidentally left for dead on Mars during a manned mission where he struggles to survive in the planet while the people at NASA discover he’s alive as they try to figure out how to get him back home with the man’s crew dealing with guilt of leaving him behind. Directed by Ridley Scott and screenplay by Drew Goddard, the film explores the world of science where people on Earth find a way to try and bring this astronaut home as the man himself would try to find ways to survive on the planet using what he has in his head. Starring Matt Damon, Jessica Chastain, Chiwetel Ejiofor, Kristen Wiig, Benedict Wong, Michael Pena, Sebastian Stan, Kate Mara, Mackenzie Davis, Askel Hennie, Sean Bean, Donald Glover, Eddy Ko, Chen Shu, and Jeff Daniels. The Martian is an adventurous and engaging film from Ridley Scott.

During a manned mission to Mars where an attempt to leave during a strong dust wind where an astronaut is struck by debris and is unfortunately left for dead by his crew. The film revolves around this astronaut who finds himself stuck on Mars aware that it is likely that it will take four years for another spaceship to come in and rescue him with the little rations he has where he is forced to find ways to survive. Meanwhile back on Earth, NASA who for two months believed the man to be dead make a discovery that he is alive through satellite photos as they try to find a way to get him back home but a lot of things are happening where they don’t even tell his crew for months. It’s a film that isn’t just about survival but also the need to rescue a man stranded on Mars where he is forced to left to his own devices yet would unveil what he is able to do to try and survive for the next few years.

Drew Goddard’s screenplay has a very unique narrative that moves back and forth in not just what astronaut Mark Watney (Matt Damon) does to survive on Mars where he would grow potatoes and make water in the planet thanks to his skills as a botanist. It also showcases what is happening in NASA where they try to figure out how long he can survive as well as how to create a rescue mission. The Earth portion of the narrative also play into the world of politics as NASA’s director Teddy Sanders (Jeff Daniels) ponders the financial cost as well as the risks while he also has to tell the truth to the public that Watney is alive after declaring him dead during the botched mission months earlier. For NASA, the news of Watney being alive has become a public relations nightmare for the company where it also shows what is happening behind the scenes where they also need to get help from other sources including rival space exploration companies.

At the space vessel Hermes, there is a subplot that involves Watney’s crew led by Commander Melissa Lewis (Jessica Chastain) who, along with the crew, are consumed with guilt as they’re returning home to Earth where they play a key part in the film’s third act as it relates to the rescue. While they’re aware that the journey back to Mars will take another 18 months with a special booster created by this rival company. Commander Lewis and the crew prefer to take that risk knowing that if it goes wrong, they will all die. Especially as their mission director Mitch Henderson (Sean Bean) gave them the option as he is aware of the risks not just in space but also the financial risks where he finds himself sparring with Sanders since Henderson wanted to tell Lewis and the crew about Watney once the news broke. It all play into that world of politics and when Watney who would finally communicate with NASA’s Mars mission director Vincent Kapoor (Chiwetel Ejiofor) who revealed what has been going on. Not surprisingly as there’s frustration where Kapoor and several other scientists try to find solutions where it would be a young astrodynamicist in Rich Purnell (Donald Glover) who would create what the Commander Lewis and her crew have to do as does Watney.

Ridley Scott’s direction is definitely quite vast for the world he creates not just in Mars but also outer space while also maintain a sense of ground for the fact that the film is also set on Earth. With many of the exterior scenes on Mars shot at Wadi Rum in Jordan with several interiors shot in Hungary, the film plays into a world that is quite large where Scott used a lot of wide shots for these exteriors in Mars as it has this air of mystique. Even in the some of the interiors in the base where Watney would have to live in and grow crops as Scott would also use small video cameras such as the Go-pro cameras to document everything Watney is going through. It has this air of the documentary in the film where it plays into what happens if a man is stranded alone in Mars having to survive by what he knows.

The direction is also intimate not just for the scenes inside the Hermes vessel but also on Earth where there’s a lot of discussion and squabbling going on about what to do. Scott chooses to keep things simple throughout the film by not going for anything flashy though he would utilize bits of style in some tracking and dolly shots but keep it to a minimum. The scenes at the Hermes vessel are quite entrancing to play into the world of this space vessel but also to show everyone trying to move on despite carrying this weight of guilt. While Scott is aware that it’s a sci-fi adventure film with a lot of drama, he knows that it’s a film that shouldn’t take itself too seriously by displaying the fact that Watney is kind of goofy. Even as there’s a recurring gag to the fact that the only thing playing at the base on Mars is 70s disco music that Watney hates yet it was chosen by Commander Lewis. All of which plays into a film that is about doing what is right no matter how complicated it can be. Overall, Scott crafts a riveting yet sprawling film about a man accidentally stuck on Mars and trying to survive as he awaits rescue.

Cinematographer Dariusz Wolski does brilliant work with the film‘s cinematography in creating some filters for the exterior scenes set on Mars as well as providing distinctive looks for the scenes at the Hermes space vessel and on Earth. Editor Pietro Scalia does excellent work with the editing as it‘s mostly straightforward with a few stylistic cuts for the big action sequences as well as a stylish montage sequence about the rescue planning. Production designer Arthur Max, with supervising art director Marc Homes and set decorators Celia Bobak and Zoltan Horvath, does amazing work with the look of the moon base and many of the interiors in that base as well as the space vessel interiors and rooms at NASA. Costume designer Janty Yates does nice work with the costumes in the way the astronaut suits look as well as the clothes of the people on Earth. Hair/makeup designer Tina Earnshaw and hair/makeup supervisor Csilla Blake-Horvath does terrific work with the look of Watney late in the film as he struggles to survive with the limited resources he had.

The visual effects work of Chris Lawrence, Anders Langlands, Richard Stammers, and Steve Warner is fantastic for the look of outer space as well as the Hermes space vessel along with some set dressing for the Mars exteriors. Sound designers Michael Fentum and Oliver Tarney do superb work with the sound in the way the dust winds sound in and out of the base as well as some of the computers and such along with the sparse and more natural sounds for the scenes in Earth. The film’s music by Harry Gregson-Williams is wonderful for its orchestral-based score that has some bombast in some of its intense moments while being low-key in its somber moments. The film’s soundtrack is definitely a joy to listen to not just in the fact that it consists a lot of classic 70s pop and disco music from the likes of ABBA, the Hues Corporation, Donna Summers, Thelma Houston, the O’Jays, Gloria Gaynor, and Vickie Robinson as well as inspired usage of David Bowie’s Starman.

The casting by Carmen Cuba and Nina Gold is incredible as it features some notable small roles from Eddy Ko and Chen Su as key officials from the Chinese Space program, Donald Glover as the astrodynamicisist Rich Purnell who comes up with an idea for the Hermes to travel back to Mars, Benedict Wong as a Jet Propulsion Laboratory director who tries to come up with ideas in saving Watney, and Mackenzie Davis as the NASA satellite planner Mindy Park who would be the one to discover that Watney is alive through satellite photos. Other notable small roles as members of the Ares III team includes Askel Hennie as the team’s navigator/chemist Dr. Alex Vogel, Sebastian Stan as flight surgeon Dr. Chris Beck, Kate Mara as the system operator Beth Johanssen, and Michael Pena as the team’s pilot Rick Martinez who is Watney’s closest friend.

Chiwetel Ejiofor is superb as the Mars mission director Vincent Kapoor who would be the first to communicate with Watney as he realizes with the severity of what is happening as he tries to figure out what to do to save him. Sean Bean is fantastic as the Ares III mission director Mitch Henderson who wanted to tell his crew that Watney is alive as he spars with Sanders about what to do. Kristen Wiig is terrific as NASA’s media relations director Annie Montrose who tries to smooth over all of the bad publicity NASA is facing as well as figure out how to save face for NASA. Jeff Daniels is excellent as NASA’s director Teddy Sanders who is trying to see anyway NASA can save money but also wanting to do what is right with caution. Jessica Chastain is amazing as Commander Melissa Lewis as the Ares III leader who deals with guilt of leaving Watney behind as she would later try to figure out every scenario into getting him back as a way to do what is right. Finally, there’s Matt Damon in a phenomenal performance as Mark Watney as the astronaut who is accidentally stranded on Mars following a freak accident where he manages to find a way to survive with his expertise on botany and wit while also providing some charm, humor, and humility to his role as it’s one of Damon’s finest performances.

The Martian is a spectacular film from Ridley Scott that features an incredible performance from Matt Damon. Along with a strong ensemble supporting cast, dazzling visuals, compelling themes on science, and a fun music soundtrack. The film isn’t just a sci-fi adventure film that doesn’t play dumb as well as reveal what might happen on a manned mission to Mars. It also showcases how someone is willing to survive with a positive attitude despite his hatred for disco. In the end, The Martian is a magnificent film from Ridley Scott.

Ridley Scott Films: (The Duellists) - Alien - Blade Runner - (Legend) - (Someone to Watch Over Me) - (Black Rain) - (Thelma & Louise) - (1492: Conquest of Paradise) - (White Squall) - (G.I. Jane) - (Gladiator) - (Hannibal) - (Black Hawk Down) - (Matchstick Men) - (Kingdom of Heaven) - (A Good Year) - (American Gangster) - (Body of Lies) - (Robin Hood) - Prometheus - (The Counselor) - (Exodus) - (Alien: Covenant) -All the Money in the World

© thevoid99 2016

007 James Bond Marathon: GoldenEye

Based on the stories of Ian Fleming, GoldenEye is the story of James Bond going up against an old 00 agent from destroying London with a satellite weapon. Directed by Martin Campbell and screenplay by Michael France, Jeffrey Caine, Kevin Wade, and Bruce Feirstein from a story by France. The film marks James Bond return to the big screen following a six-year hiatus due to legal disputes as playing the role of Bond is Irish actor Pierce Brosnan. Also starring Sean Bean, Izabella Scorupo, Famke Janssen, Robbie Coltrane, Alan Cumming, Tcheky Kayro, Joe Don Baker, Desmond Llewnlyn, Samantha Bond, and Judi Dench as M. GoldenEye is an exhilarating yet fun film from Martin Campbell.

On a trip to Monte Carlo, James Bond follows a mysterious woman named Xenia Onatopp (Famke Janssen) who is rumored to be part of a secret crime syndicate called Janus. Bond tracks her down as she had just killed an admiral to steal a helicopter that can withstand electromagnetic pulse. The helicopter arrives at a Russian bunker where Onatopp and General Ourumov (Gottfried John) kill the people at a satellite command station to take control of a satellite known as GoldenEye that can destroy locations with an electromagnetic pulse. Witnessing this is a computer programmer named Natalya Simonova (Izabella Scorupo) as she hides from the massacre and manages to survive the collapse of the building. Bond is asked by M to investigate the matter as he travels to St. Petersburg to find out more about Janus.

With the help of CIA agent Jack Wade, Bond meets an old adversary in Russian mafia head Valentin Zukovsky (Robbie Coltrane) who decides to help Bond by setting up a meeting between Bond and Janus. After an encounter with Onatopp, Bond finally gets to meet the head of Janus as it’s revealed to be former 00 agent Alec Trevelyan (Sean Bean) who Bond thought was killed in a mission they took part in nine years ago. Trevelyan with help of Onatopp and Ourumov trap Bond in the helicopter that was stolen as Bond and Simonova manage to escape as they’re eventually captured by Russian authorities as they meet Russian defense minister Dimitri Mishkin (Tcheky Kayro) where Bond reveals what’s going on.

Ourumov would end up causing trouble as he takes Simonova leading to a chase as Bond boards Trevelyan’s train where Bond has another confrontation with Trevelyan. After another escape with Simonova, the two travel to Cuba to stop Trevelyan from using the GoldenEye satellite as Bond learns what Trevelyan is planning to do.

The film is essentially another story of James Bond trying to save the world but this time around, he faces up against someone who was a friend and ally who knows Bond better than anyone else. It’s also a film where Bond has to deal with changing times as the Cold War is over and he has a new M that is very different from her predecessors who isn‘t fond of Bond and his antics. This would allow Bond to face hard facts about himself and his company as he discovers that the man who was once his ally has now become the enemy whose motivation is simply vengeance in the most extreme way.

The screenplay explores this new post-Cold War world where it’s clear that people like Ourumov is still trying to uphold the old prestige of the Soviet Union as he plans to threaten the new, fragile peace that Russia wants. Yet, it’s the Alec Trevelyan character that is the most interesting as he is the brains behind the scheme as he wants to destroy London for what they did to his parents. With Ourumov’s help as well as Xenia Onatopp and a computer programmer named Boris Grishenko (Alan Cumming), Trevelyan would not only get his revenge but also something more as he also wants to humiliate Bond. Still, the script allows Bond to re-think his strategies as he gets help from another computer programmer in Natalya Simonova who knows what the Janus crime group are up to and can stop the GoldenEye satellite from creating chaos.

Martin Campbell’s direction is definitely big in the way he presents the film as he is aware that this is a James Bond film and it has to be big. The film opens with this amazing prologue of Bond and Trevelyan teaming up to stop Ourumov at a Soviet chemical plant where it establishes Bond’s friendship with Trevelyan and the unexpected betrayal that would follow nine years later. With the locations set in Russia, London, Monte Carlo, and Puerto Rico, the direction establishes that the world is far grander in this post-Cold War period as computers also play a part in the scheme where Trevelyan and Grishenko would do things to control this deadly satellite.

With these spectacular action sequences that includes a few chase scenes, Campbell does manage to create a film that is thrilling while taking its time to establish what is going on. Campbell also balances the action with bits of humor as well as a lot of suspense as he makes sure that is about Bond doing his job to investigate where he would uncover many secrets about what he’s facing. Even as it would lead to a climatic face-off between Bond and Trevelyan in a grand sequence that pits 00 against 00. Overall, Campbell creates a truly solid yet exciting film that lives up to the James Bond name.

Cinematographer Phil Meheux does excellent work with the film‘s photography from the lighting schemes in the spa fight scene to some of the day and nighttime exteriors of the locations in the film. Editor Terry Rawlings does nice work with the editing by creating some rhythmic cuts for the film‘s action scenes along with some more methodical cuts for the film‘s suspense. Production designer Peter Lamont, with set decorator Michael Ford and art director Neil Lamont, does fantastic work with the set pieces such as MI6 base, the train car that Trevelyan chills out at, and the main base for the film’s climatic confrontation. Costume designer Lindy Hemming does superb work with the costumes such as the lavish dresses and clothes that Xenia Onatopp wears.

Special effects supervisor Chris Corbould does brilliant work with the special effects created for the action scenes along with visual effects miniatures made by Derek Meddings, whom the film is dedicated to. Sound editor Jim Shields does terrific work with the sound to capture the atmosphere of action scenes to the more intimate moments in the meetings Bond would have. The film’s music by Eric Serra is wonderful for its mix of orchestral flourishes and electronic music to create an air of suspense as well as utilizing the Bond themes to play out the action scenes. The title song by U2’s Bono and the Edge that is sung by Tina Turner is among one of the most fascinating songs of the Bond catalog.

The casting by Debbie McWilliams is amazing for the ensemble that is created as it features appearances from Minnie Driver as Zukovsky’s mistress, Serena Gordon as Bond’s Monte Carlo evaluator, Robbie Coltrane as Russian gangster Valentin Zukovsky, Joe Don Baker as CIA agent Jack Wade, and Tcheky Kayro as Russian defense minister Dmitri Mishkin. Alan Cumming is very funny as the cocky computer programmer Boris Grishenko while Gottfried John is very good as the villainous General Ourumov. In her first appearance as Miss Moneypenny, Samantha Bond is wonderful as M’s personal secretary who revels in her dating life while Desmond Llewelyn is fantastic as the very witty inventor Q who provides Bond some amazing gadgets.

Famke Janssen is superb as the villainous Xenia Onatopp as she has this great presence that is alluring while being very dangerous in the way she deals with men physically. Judi Dench is great as Bond’s superior M where Dench provides a very different approach to the character in her disdain towards Bond’s antics while making sure he maintains his professionalism in his mission. Izabella Scorupo is excellent as computer programmer Natalya Simonova who helps Bond to deal with the Janus crime syndicate as she is also a very smart individual who can deal with Grishenko. Sean Bean is phenomenal as Alec Trevelyan who organizes a plan to destroy London while trying to defeat Bond in every game while anticipating everything else Bond does as Bean does solid work.

Finally, there’s Pierce Brosnan in his first of four outings as James Bond. Brosnan brings a sense of wit and charm to the character that is very engaging as well as a physicality that is also startling to watch as he makes Bond a guy who isn’t afraid to throw down. Brosnan also manages to make Bond more human by having show a bit of humility for the fact that he’s facing an old friend adding a bit of new edge to the character as Brosnan definitely gives a very memorable portrayal of Agent 007.

GoldenEye is a marvelous film from Martin Campbell that features Pierce Brosnan in a remarkable performance as James Bond. Along with wonderful supporting work from Sean Bean, Famke Janssen, Izabella Scorupo, and Judi Dench. It’s a film that lives up to a lot of elements of the Bond films of the past while bringing something new to make Bond fresh and exciting. In the end, GoldenEye is a mesmerizing and spectacular film from Martin Campbell.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

Red Riding: 1983

Based on David Peace’s Red Riding Quartet novel about the Yorkshire Ripper murders, Red Riding: In the Year of Our Lord 1983 is the concluding film of a trilogy of films about the Yorkshire Ripper murder mysteries. Directed by Anand Tucker with a script by Tony Grisoni, the third film is about a superintendent whose guilt finally haunts him as he tries to solve the crime with help of a public solicitor whose father was part of the corruption within the police. In turn, the two men realize who the real killer is and why was the police and local businessmen were covering it up. Starring Mark Addy, Robert Sheehan, Daniel Mays, Peter Mullan, and David Morrissey. Red Riding: In the Year of Our Lord 1983 is a powerful yet exhilarating film from Anand Tucker.

It’s 1983 as a young girl named Hazel Atkins (Tasmin Mitchell) has disappeared with everyone in Yorkshire realizing it’s happening again. The pressure is on police superintendent Maurice Jobson (David Morrissey) as he and Dick Alderman begin the investigation as they turn to a medium (Saskia Reeves) for help. Realizing that the medium has garnered information concerning the previous crimes as Jobson begins to reflect on memories about the early investigation that involved John Dawson (Sean Bean) who was part of a group of businessman and local officials to create a shopping center where everyone profits.

Meanwhile, John Piggott (Mark Addy) returns home following the funeral of his mother as he is asked by Mrs. Myshkin (Beatrice Kelley) to be a solicitor for her son Michael (Daniel Mays) who remains jailed for the 1974 crimes. Piggott reluctantly does so as a favor only to learn that Michael was forced to claim he did the crimes as he searches for more information about those early murders. When Leonard Cole (Gerard Kearns) is accused of the disappearance of Hazel Atkins, Piggott is asked to represent him only to find something bad has happened as he meets Jobson about Kearns. Jobson remains haunted by his past deeds as he is aware of who really committed the murders as he turns to the medium realizing that his superiors want him to do nothing.

With Piggott trying to solve the mystery of who killed the girls and Jobson dealing with his own guilt. BJ (Robert Sheehan) is released from jail as he reflects on the events that had happened as it leads to a climax as all three men make a discovery of who killed those girls.

For this concluding film of the trilogy about the Yorkshire Ripper murders, screenwriter Tony Grisoni and director Anand Tucker create a film that is about redemption in the form of one of the trilogy’s central characters in Maurice Jobson. Jobson’s guilt in playing the role of a man realizing that he could’ve stopped everything but couldn’t because he is an investor to a businessman who has connections with the killer. Then there’s John Piggott, a useless lawyer who isn’t the kind of man that could be a hero becomes the one person who realizes there’s some loose ends as he tries to save a man’s life. Finally, there’s the male hooker BJ who returns as his role is truly revealed in connection with what happened. Grisoni’s screenplay is very multi-layered story filled with multiple narratives and flashbacks where it takes everything in the previous films right back for a fitting conclusion.

Tucker’s direction is truly hypnotic as he shoots the film with the Red One digital camera for a 2:35:1 theatrical aspect ratio that is mixed in with grainy camera work for BJ’s flashback scenes. Mixed in with stock footage and footage from the previous films, Tucker creates a film that is partially based on memories but also allow characters to use the past as motivation for finding the truth. Eventually, it leads to a harrowing climax as everything comes together. Filled with amazing camera work with a mixture of hand-held and tracking shots, Tucker’s direction is very engaging as he creates a solid yet chilling film.

Cinematographer David Higgs does a great job with the de-saturated look of the film with heightened colors for many of the film‘s exterior and interior scenes in the day time. Even with the flashbacks to create something more heightened with dark shadows and light to complement the tone of the film as well as Jobson‘s sense of moral conflict. Editor Trevor Waite does a fantastic job with the editing in creating seamless transitions towards the flashback scenes and 1983 scenes along with rhythmic cuts to present the intensity of conversations with some of its principle characters.

Production designer Alison Dominitz, along with set decorator Alex Marden and art director Katie MacGregor, does an excellent job with the difference of the two periods of 1974 with the look of cars and objects to decayed home of John Piggott in 1983. Costume designer Caroline Harris does a wonderful job with the costumes from the clothing of the 1970s to the more weary yet simpler look of 1983. Sound editor James Harrison does a very good job with the sound from the hollow world of the council rooms to the stark silence of the poor Yorkshire apartments. The music by Barrington Pheloung is very low-key with its orchestral score to play up the drama and suspense of the film. The rest of the soundtrack is dominated by 60s-70s soul music to accompany the emotions of John Piggott.

The casting by Nina Gold is phenomenal as she creates an ensemble that features players from the previous films and the addition of newer ones for the final part of the trilogy. Making small but memorable appearances from previous episodes include John Henshaw, Andrew Garfield, Cara Seymour, Sean Harris, Tony Mooney, and Tony Pitts. Other notable small roles include Michelle Dockery as a former journalist, Gerard Kearns as Leonard Cole, Jim Carter as Harold Angus, Shaun Dooley as Dick Alderman, Chris Walker as Jim Prentice, and Warren Clarke as the slimy Bill Molloy. In other notable supporting roles, there’s Beatrice Kelley as Mrs. Myshkin, Daniel Mays as the mentally-challenged Michael Myshkin, Catherine Tyldesley as Leonard’s girlfriend Tessa, Tasmin Mitchell as the missing girl Hazel, and Saskia Reeves as the medium Jobson turns to for help.

Peter Mullan is great as the quiet but secretive Reverend Laws who has a very strong way to influence people while Sean Bean is superb in an appearance as the deceitful John Dawson. Robert Sheehan is very good as the male prostitute BJ who brings some narration to reflect his own experiences with the Yorkshire murders as well as having a connection with the killer. Mark Addy is brilliant as John Piggott, a solicitor who gets a chance to uncover the truth realizing the corruption that has surrounded the case including the fact that his father was part of that corruption. Finally, there’s David Morrissey in a phenomenal role as Maurice Jobson. Morrissey brings a chilling performance as a man consumed by guilt as he tries to redeem himself for the things he let happen.

Red Riding: In the Year of Our Lord 1983 is a fantastic film from Anand Tucker that features superb performances from David Morrissey and Mark Addy. For a film on its own, it’s a remarkable one that has suspense and drama. In comparison to its predecessors, it is a fitting conclusion that finally allows the first two films to fill in gaps that were supposedly lost. In the end, Red Riding: In the Year of Our Lord 1983 is a mesmerizing film from Anand Tucker.

Red Riding Trilogy: Red Riding: In the Year of Our Lord 1974 - Red Riding: In the Year of Our Lord 1980

© thevoid99 2011

Red Riding: 1974

Based on David Peace’s novel Red Riding Quartet, Red Riding: In the Year of Our Lord 1974 tells the story of a young reporter trying to uncover the mystery of missing girls supposedly committed by the Yorkshire Ripper. Along the way, the reporter has an affair with a widow while learning about the corruption in the police force. Directed by Julian Jarrod with an adapted screenplay by Tony Grisoni, it is the first of a three-part trilogy chronicling the Yorkshire Ripper murders. Starring Andrew Garfield, Sean Bean, Anthony Flanagan, Sean Harris, Eddie Marsan, Rebecca Hall, and David Morrissey. Red Riding 1974 is a haunting yet mesmerizing thriller from Julian Jarrod.

Eddie Dunford (Andrew Garfield) is a young journalist for the Yorkshire Post as he’s been asked to do some work about a recent murder of a young girl by the Yorkshire Ripper. With help from his friend and fellow journalist Barry Gannon (Anthony Flanagan), Dunford asks about the murders as he wonders why the police aren’t cooperating. After turning to another journalist in Jack Whitehead (Eddie Marsan) for more resources, he asks one of the victims’ parents in Paula Garland (Rebecca Hall) about her daughter as she is upset when he mentions her late husband.

Realizing that her husband had already died of a suicide, he gets more help from Gannon in the research against the wishes of their editor (John Henshaw). Seeing Paula again at a pub, the two talk as he asks if she called the two policeman (Sean Harris and Tony Mooney) who assaulted him. She admitted that she did but didn’t realize he didn’t mean to hurt her as an affair ensues. Eddie then learns some horrifying news as he meets John Dawson (Sean Bean), a business magnate set in creating a shopping center in the town. After getting some evidence from a male prostitute (Robert Sheehan), Eddie sees a link between Dawson and the police thinking there is something going on.

After being suspended, Eddie believes that Whitehead is working with the police as he also learns that Paula has been sleeping with Dawson because he always gets his way. Eddie suddenly realizes he’s a target for the police as he turns to a local cop (Steven Robertson) for help by giving him evidence in case something goes wrong. What happens is a harsh discovery for Eddie about the Yorkshire police and the cover-ups that is happening.

The film is about a young journalist’s attempt to report the Yorkshire Ripper murders as he ends up seeing a corruption within the police as people are missing and he becomes a target. Tony Grisoni’s screenplay is an intriguing story about a man trying to uncover a mystery while risking his journalist integrity by having an affair with a widow whose child was missing two years earlier. What happens is that Eddie Dunford goes way into deep as it involves his own newspaper, the local police, and a local businessman all trying to have Eddie to keep his mouth shut. Instead, Eddie is a character that is motivated in not just doing the right thing but help a woman who lost her child.

Julian Jarrod’s direction is very entrancing in its stylish approach as it’s shot with 16mm cameras for a 1:85:1 widescreen aspect ratio to create a gritty look. Jarrod’s direction is filled with wonderful compositions and eerie scenes of cars driving at night to create a haunting feel for the film. Jarrod’s direction also has some surreal moments such as Eddie’s trip to a damp yet dreary place where homeless people live to the city of Yorkshire itself. Jarrod’s direction is truly a highlight of the film for creating a dark mood and enhance the world of the powerful and the poor.

Cinematographer Rob Hardy does a great job with the film‘s stylish photography from the gritty yet dream-like look. For many of the daytime scenes interior and exterior, there‘s a colorless yet grimy look to display the world that is Yorkshire. For scenes in the pub and Paula’s home at night along with some nighttime exterior shots, there is a very stylized yet lush look to the photography to complement the world that is the 1970s. Editor Andrew Hulme does an excellent job with the editing in maintaining a straightforward presentation with some rhythmic cuts and a tight, leisured pace throughout the film.

Production designer Cristina Casali, along with set decorator Duncan Wheeler and art director Julie Ann Horan, does a fantastic job with the look of 1970s Yorkshire from the look of the pubs to the cars that were used at the time. Costume designer Natalie Ward does a fine job with the costumes from the pants the mean wear to the dresses that the women wear that is representative of the times. Visual effects supervisor Adam Gascoyne does a good job with the minimal visual effects needed for the film such as the dreary homeless scene and other violent effects.

Sound editor/recordist Danny Hambrook does a superb job with the sound work from the dreary atmosphere of Yorkshire to the chaos at the party and pub scenes in the film. The film’s score by Adrian Johnston is wonderful for its plaintive yet chilling guitar-driven score to play up the brooding tone of the film. The soundtrack also features an array of music from 1970s soul music to the music of King Crimson as the music is a highlight of the film.

The casting by Nina Gold is wonderful as it features cameo appearances from Peter Mullan as a priest and David Morrissey as Maurice Jobson, the superintendent that is part of the corruption from within. Other notable performances includes Gerard Kearns as the man who shows Eddie where he found a body, Cara Seymour as a mother whose son shows Eddie the body’s location, Daniel Mays as a mentally-challenged suspect, Robert Sheehan as the male prostitute BJ, Steven Robertson as a friendly cop, Mary Jo Randle as Eddie’s mother, and Warren Clarke as the corrupt police chief. Sean Harris and Tony Mooney are excellent as a couple of corrupt cops who harass Eddie while Eddie Marsan is great as the sleazy journalist Jack Whitehead.

John Kenshaw is very good as the hard-nosed editor Bill Hadley while Anthony Flanagan is also good as Eddie‘s fellow journalist Barry Gannon. Rebecca Hall is radiant as the grief-stricken Paula, a widow whose child is supposedly missing or dead as she engages into an affair with Eddie while wondering what really happened. Sean Bean is superb as the charming but sleazy John Dawson, a businessman who is intent on making sure Eddie keeps his mouth shut for his own reasons as he’s one of the corrupt figures. Finally, there’s Andrew Garfield in the phenomenal role of Eddie Dunford. Garfield brings a chilling performance as a young man whose journalistic integrity is put to the test as he seeks out truth only to be confronted by dark secrets from within.

Red Riding: In The Year of Our Lord 1974 is an eerie yet intoxicating suspense thriller from Julian Jarrod featuring top-notch performances from Andrew Garfield, Rebecca Hall, and Sean Bean. Audiences that want a smart thriller that doesn’t play by the rules while keeping things mysterious while wanting more should see this. In the end, Red Riding: In The Year of Our Lord 1974 is a smart yet engrossing film from Julian Jarrod.

Red Riding Trilogy: Red Riding: In the Year of Our Lord 1980 - Red Riding: In the Year of Our Lord 1983

© thevoid99 2011