The Bad Guys ****

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Posted: 30/03/2022

It is quite surprising that the big animation studios have not picked up on and adapted Australian author Aaron Blabey’s series of children’s illustrated books The Bad Guys long before now, because it centres on a gang of anthropomorphic animals known as the Bad Guys who try to do good deeds to change society’s perception of them as scary criminals that usually fail. The material is ready-made, big-screen gold – and a genius one at that.

Thanks to French animator and director Pierre Perifel we now have The Bad Guys, the movie that not only gives a faithful nod to the sketchy animated style of the books, but also as offers oodles of fun, a brilliant dynamic group of characters based on animals, reptiles and fish that we all naturally fear, plus endless points for family discussion post viewing, including the dangers and damage of societal labelling on first impressions.

The criminal gang includes Snake (voiced by Marc Maron), Shark (voiced by Craig Robinson), Tarantula (voiced by Awkwafina), Piranha (voiced by Anthony Ramos) and head of the pack, Mr. Wolf who is voiced by Sam Rockwell. They constantly evade capture and enraged Police Chief Misty Luggins (hysterically voiced by The Marvelous Mrs. Maisel‘s Alex Borstein) while accumulating a mountain of wealth. But they are still not satisfied with life or each other. The buzz of each job is shortlived.

When the Bad Guys try to pull off one last heist at an awards ceremony, they find they have bitten off more than they can chew, after crossing new city governor Diane Foxington (voiced by Zazie Beetz) who hides a dubious alter ego called The Crimson Paw. After that job goes publicly and horribly wrong, rather than bang the gang up, Foxington asks that the guys be reformed in a rehabilitation programme offered by lauded do-gooder and guinea pig Professor Marmalade (voiced by Richard Ayoade). This goes less than smoothly, but actually exposes the real ‘bad guys’ of the story, creating anti-heroes of our gang.

Diane Foxington aka The Crimson Paw and Mr. Wolf

This band of misunderstood outcasts are first introduced to us in a frenetic car chase that the Fast and Furious franchise would be envious of. It harks back to nostalgic 70s animation and cop chases, all accompanied by Daniel Pemberton’s funky score of the same era. It’s exhilarating and sets the snappy pace to come. However, we are far from deprived of character development. This is just as important as the action story – we need to understand exactly where each perp stands when circumstances turn and loyalties tested.

In the meantime, being in this gang’s company really is a hoot to watch. From Wolf going all ‘gooey’ when an old lady misreads his nibble thieving hands on a red carpet, to Snake’s bad-tempered and snappy nature, only thawed by a popsicle, to Shark relishing every dubious and quite hilarious disguise, each one has a personality worth getting to know, and the voice cast do not fall short of bringing them fully to life. And who knew piranhas had a big flatulence problem – a play on the carnivorous fish’s swim bladder, a gas-filled organ that keeps it afloat, even if it works in the gang’s favour at times.

Ayoade’s insipid rodent character Marmalade is just as thrilling as he tries to stay calm, collected and virtuous as chaos ensues. Zazie Beetz’s Foxington continues a long line of savy feminine leads that are more than capable of running the show solo while hinting to many other sides to their personality. In fact, by the end of the film, we are no where near done finding out more about our anthropomorphic cast – just as well, as there is a major hint to a sequel, if box office takings work out.

If this first successful outing is anything to go by though, DreamWorks Animation/Universal Pictures should be making far more noise around Wolf and his gang because they really are the imperfect Good Guys trying to shake off bad behaviour and a label that sticks. We can’t help but root for them in their endeavours, while pray they keep their mischievous nature for another film escapade to come – but not running if a reformed Snake and Mr. Wolf actually entered a cafe would still be tricky.

The Bad Guys is out in UK cinemas on April 1.

LFF 2020: Mangrove *****

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Posted: 09/10/2020

Never has a BFI LFF opening night film felt so immediate, so relevant to real-life events right now. 2020 has been one hell of a year so far, but a positive takeaway is the exploration of what ‘Black Lives Matter’ means, regardless of individual racial identity.

Steve McQueen starts that discussion on film with the first of his Small Axe cinematic stories, Mangrove. The director explains that Small Axe comes from a West Indian proverb translated as “together we are strong”. Mangrove visually and verbally enforces this profound saying. At the same time, the film provokes a real sense of enlightenment and, equally, shame because it asks the question of why the real-life events behind it are not part of popular general knowledge.

Mangrove was the name of the real-life Caribbean restaurant located at 8, All Saints Road in London’s Notting Hill. Opened in 1968 by the late Trinidadian community activist and civil rights campaigner Frank Crichlow (played by Shaun Parkes), it fast became a hub for the local West Indian community. It was also visited by many celebrities, including Nina Simone, Vanessa Redgrave, Diana Ross, Jimi Hendrix and Bob Marley. On the flip side, it became a magnet for blatant racial discrimination by members of London’s Met police force, resulting in regular raids.

In a bid to stop the discrimination and abolition of their community base, Crichlow and his friends take to the streets in peaceful protest in 1970, only to be met by police aggression. As a result, nine men and women known as ‘the Mangrove Nine’, including Crichlow, leader of the British Black Panther Movement Altheia Jones-LeCointe (Letitia Wright) and activist Darcus Howe (Malachi Kirby), are wrongly arrested and charged with incitement to riot and affray. A highly publicised trial at the Old Bailey commences where certain defendants represent themselves which leads to a hard-fought win.

Language, look and feel blend harmoniously in McQueen’s film, capturing the true West Indian spirit of that iconic street and its eatery. It is positive and dwells on the richness of culture and strength of personalities, rather than venturing down the visual route of portraying troubling socio-economic issues of the time. The latter moments, like children playing together in derelict streets punctuate rather than dominate the narrative. The camera moves like an extra between the main players too, especially in the uplifting scenes as the calypso steel band plays in the street and the viewer is welcomed into the fold. Such thoughtful scenes are vital to gain that true sense of community belonging and feel the frustration at the hands of crooked law-makers.

Parkes as Chrichlow is magnificent, an exciting and masterful actor who depicts in pained expression more than words ever could. His portrayal of his character’s sense of commitment to his community is enormous and dynamic, becoming all the more intense when Crichlow has doubts about his plea in court in the midst of the trial.

Black Panther star Wright shines like a beacon of hope in this. Her speech as Jones-LeCointe about upholding freedom of expression for future generations really hits home as a pivotal moment in the film. It is not lost on anyone watching, especially as human rights feel under attack nowadays. Again, McQueen’s choice to tighten the framing during her speech and make the viewer/camera part of the ensemble further emphasises this. Kirby as Howe is also rousing in his speech delivery, channeling his anger and becoming a resourceful advocate.

For a film caught up in the moment and the action at times, Mangrove offers some sumptuous and poetic cinematic moments, such as a reflection on a rain-soaked car bonnet of Jones-LeCointe during the protest, or long, drawn-out puffs on a cigarette as Crichlow awaits his fate.

McQueen also injects moments of humour that stem from great irony, even in the midst of the important trial proceedings that go to heighten the absurdity of the charges. Reactions from defending legal council Ian Macdonald who skillfully guides the Nine through the legal establishment’s regulations are playfully portrayed by Jack Lowden. These are in stark contrast to the scowls of Sam Spruell as PC Frank Pulley, the leader of the racist police pack. He is the designated bad guy of the story and one-dimensional in this, with only a hint of personal hang-ups that shape his character.

Mangrove is a must-see piece of filmmaking, unassuming in its immediate production values but fast becoming a tsunami in its message, especially at the end in the judge’s summation. McQueen has made this message universal too, inclusive and game-changing for any cinephile.

The Grinch ***

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Posted: 11/11/2018

There are many reasons to produce an animated version of The Grinch, the Jim Carrey character who hates Christmas, not least as when you have the makers of Despicable Me behind it, the possibilities are endless and the magic of the latter can filter through into a fun festive offering. Getting your head around Benedict Cumberbatch voicing said character is a little more challenging, but you can hardly tell it’s him from the start.

From Dr. Seuss, The Grinch (Cumberbatch) lives in isolation, high above the village of Christmas-loving Whoville. Determined to put an end to the excessive celebrations of the silly season, he decides to ruin Christmas and steal the Christmas spirit, but for one small, big-hearted child called Cindy-Lou Who (voiced by Cameron Seely).

Kids love animated characters, so directors Yarrow Cheney and Scott Mosier have won half the battle for Christmas. For adults, it’s all about escapism for an hour or more, and this Christmas film is no exception, full of fuzzy, fun festive colours in a village we would all love to live in; that idyllic cozy one nestled in snowy mountains. With the Christmas scene set, the contrast is The Grinch’s abode.

Here, there is some distinction, though the gloom is less so than in the live-action 2000 original – and deliberately less terrifying too. This is to (shamelessly) inject a bit of the lovable The Secret Life of Pets element into it and firmly establish the one character that all the kids will love – Max, The Grinch’s loyal dog. He gets a starring role in this film. Look out for Max merch on the Santa list. His appeal almost eclipses that of the lead.

For cuteness effect, little Cindy-Lou will have the hardest heart melting. But don’t be fooled; as with all recent animations, this little girl is not all ‘sugar and spice’ anymore. Cindy-Lou 2018 is fiercely independent, the oldest of a single mum of three and more than capable of looking after herself and the household. Her determination is infectious and she is more believable in her endeavors in trying to get The Grinch onside than Taylor Momsen was nearly 20 years ago in the Carrey flick, How The Grinch Stole Christmas. This Cindy-Lou is another Despicable Me gal, just like Margo, Edith and Agnes, designed to speak to – and for – kids.

With all the family-film elements, including slapstick antics, moral values and ‘love thy neighbour’ at this time of year message, The Grinch is solid and consumable entertainment that may feel lacking in wider, original narrative, but borrows or mimics the elements that made the previous kids classics like Despicable Me and The Secret Life of Pets so highly successful. The proof is in the Christmas pudding, so why change the recipe now?

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BFI LFF 2018: Outlaw King ***

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Posted: 11/11/2018

Since Mel Gibson donned the tartan and the face paint back in 1995 as William Wallace in Braveheart, there has always been anticipation (and some in trepidation) as to how the next Hollywood A-lister will cope with the Scottish accent. Like it or not, writer-director David Mackenzie has had this focus, after announcing his new historical project, Outlaw King. Having worked with its star, Chris Pine who plays Robert The Bruce before, this 14th century period drama has a confidence in its execution, plus some great battle scenes, even if the genre feels well worn.

Outlaw King follows the rise of Scottish ‘outlaw king’ Robert The Bruce (Pine) who used his influence and knowledge of Scotland’s landscape and castles to defeat and repel the larger occupying English Army, initially led by Kind Edward I of England (Stephen Dillane).

There is a great pride and camaraderie to be had from watching this kind of film. The small guy overcoming the larger, ‘evil’ ruling force is appealing as it is relevant. Mackenzie continues Scotland’s ‘Robert Bruce’ idolizing with a film that is as much about Scottish independence as it is about one man’s power and what he does with it. It is a heady tonic of might, mud and gore.

The climax battle scenes are exhilarating to watch, as you get down in the trenches among the wooden pikes with the men and feel the sheer physicality of it all. Mackenzie spares no punches, keeping you literally ‘entrenched’ on the frontline as Englishmen advance.

The rest is geared towards Robin Hood fans, with a loveable rogue trying to turn the tide of injustice – even if he has committed a heinous crime in the process. Pine does a decent Scottish accent too, as well as some of his non-Scots Brit actors. There were no giggles or painful sighs from the cinema aisles, at least not in this screening.

The film could be snipped in parts, as bearded menfolk discusses the end ‘meeting of all meetings’ that the film works at a good pace towards. As with all such dramas ‘based on true events’, female characters get a raw deal in terms of portraying anything meaningful to the narrative, but Mackenzie makes Florence Pugh’s Elizabeth Burgh, wife of Robert, seem as influential and relevant as history will allow.

Overall, Mackenzie’s cast is well matched, with Aaron Taylor-Johnson as edgy wildcard loyal to Robert, Sir James Douglas. The only small doubt is Billy Howle as underdog Edward, Prince of Wales, who the Brit actor plays with some conviction, but does not quite have the seething menace that you would expect the sadistic prince to have.

Outlaw King still ticks all the boxes of such a genre film and feels refreshing in production values to have actual battle scenes which are not obviously CGI-ed, like a Lord of the Rings flick. It is as entertaining as it is patriotic, banging the David vs Goliath drum for the downtrodden everywhere. It should go into battle with pride in theatres.

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BFI LFF 2018: The Ballad of Buster Scruggs ****

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Posted: 11/11/2018

The Coen Brothers’ (Ethan Coen and Joel Coen) films may not be to everyone’s taste, but they generally cannot be faulted in technical brilliance. Craft is somewhat overlooked with their first Netflix film here, The Ballad of Buster Scruggs, the main talking point being ‘was it originally meant to be a TV series?’ which provoked cries of denial from the brothers and cast after its first outing at Venice Film Festival.

Regardless of whether it was or not, it works as a movie in six parts that each tell a tale of life in the Old West. It begins with its namesake, that of Buster Scruggs, played by Tim Blake Nelson, a happy-go-lucky gunslinger with a penchant for singing a ballad in between putting lead between strangers’ eyes. This tale alone sets the darkly entertaining tone, with a hilarious duet between Buster and a fellow cowboy at its finale – a brilliant introduction to the Coen Brothers’ humour and style, if you have missed their classic western, True Grit.

The other five tales introduced by the pages of a book called ‘The Ballad of Buster Scruggs and Other Tales of the American Frontier’ all have their own merit and sharp, dark wit, ending it one oddly noir-like, supernatural tale that feels out of sorts with the rest and feels like a damp squib as a finale, were it not for the tentative thread of death.

With its obvious homage to the Wild West, these bite-size stories are certainly a labour of love for the Coens, a romantic jaunt back to a time when a country was being born and was strikingly volatile, with many stark parallels to present-day USA.

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BFI LFF 2018: Widows ****

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Posted: 11/11/2018

“Curious”, is how those of us who remember the Brit TV series based on Lynda La Plante’s novel were about news of a Steve McQueen-directed movie version. Relieved perhaps that Viola Davis was taking the lead. Such a powerful female-driven story needs a strong female lead. And Davis does not disappoint.

The story follows what happens next to the widows of a criminal gang, whose members are killed after one last job together. Veronica (Davis), the wife of the gang’s leader, comes up with a survival plan, after the women’s lives are threatened.

When it comes to current topical affairs and everyday living struggles, the La Plante story is abundant big-screen material. You empathize fully with the protagonists, also brilliantly fleshed out and portrayed by Michelle Rodriguez (working mum Linda) and Elizabeth Debicki (trophy wife Alice), even though the story has been transferred to the States.

Davis is as stoic as she is vulnerable, a remarkable gift the actor brings to every role that makes her so fascinating. There is very dark humour laced in parts too, that keeps a healthy dose of the ‘ironic’ of events in progress.

McQueen is a master at character struggle and drawing this out on screen. This is still very much apparent, though snappier pace, designed to fit the crime caper set in politically-charged Chicago. Even Colin Farrell’s seemingly impenetrable dirty politician character, Jack Mulligan, who comes from a family of corrupt politicians is not immune. No character has it easy in a McQueen film and therefore, gets rewarded with a meaty story arc for their woe.

It is this fight for survival, coupled with an urgency that makes Widows the movie an apt fit for McQueen’s filmmaking skills. Look out for it at awards season – it will pay off for the British director.

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The First Purge ***

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Posted: 15/07/2018

Fourth in the sequel and (more significantly) out on Independence Day, 4th July, The First Purge aims to explain the reasoning behind the annual night of legalised thuggery and carnage – 12 hours of no laws – that has both intrigued and chilled audiences for five years. That’s if your investment in the franchise has lasted this long. Not to be written off so readily, the 2018 film has some blatant racial and social issues to digest that had Trump’s administration not been in power would be critically buried as far-fetched fiction.

In the latest episode, the right-wing government of the New Founding Fathers of America (NFFA) wants to keep an election promise of reducing crime (sound familiar?) below one percent for the rest of the year. To be seen to be doing something, it decides to enlist the help of ‘The Architect’ Dr Updale (Marisa Tomei) and put her sociological theory about venting aggression to the test in the largely black/Hispanic Staten Island community. Each resident will receive $5,000 US dollars to stay put in the area during the crime spree – and more to purge. When things do not go according to the white ruling party’s ‘social cleansing’ plan, they decide to incite racial hatred and accelerate matters.

Writer James DeMonaco has always given us plenty of food for thought in the previous films that are brimming with social commentary. Whereas they suggest the least powerful members of society are the targets, this one shouts it from Staten Island’s rooftops: America’s poorer black and Hispanic communities are under siege. DeMonaco goes one stage further with racial stereotyping, with the most powerful black man in the local community being a drug dealer and those hunting en masse being Klan and Nazi attire-wearing white folk. This film makes absolutely no apologies: It’s an unsettling watch.

African-American director Gerard McMurray confidently takes these ‘black and white’ portrayals, coupled with gun and drug crime issues and reflects it back with glaring ferocity. On face value, there is just violence and more violence, the kind a B-rated film tends to get away with. The finger is also pointed at the anonymity of tech giants orchestrating the ruling party’s whims – such as the sci-fi eyewear here.

A strong sense of community that lingers afterwards is expected – cheesy ‘survivors walking arm in arm’ end shot aside. What is not is a healthy breeze of change. Indeed, recent times in Hollywood sees growing diversity – and Lex Scott Davis as activist Nya may tick the strong female protagonist role box too. However, what happens here is a social one: the feeling of hope that is weirdly galvanising, as though a revolution against those in power in real-life is being ignited via the big screen.

Granted, the characters’ obvious comments to the effect begin to grate, but writer and director intentionally add these in the script so that the status quo does not feel like a depressing slaughter fest. We are all in need of a hero, so Die Hard fans will lap up the one-man combat scenes, with Y’lan Noel as drug lord Dmitri like a vested black McClane on a mission in a housing block.

Still, on the flipside, the ‘enjoyment’ of killing – be that via knife or gun crime – does not go unchallenged here. It feels very topical, almost too close to the bone and ‘irresponsible’ given recent global news reports. McMurray even favours close-up moments of death through the eye of the perp. One could argue that that forcing the issue might bring about discussion. Sadly, this is a tenuous argument here and maybe not the right platform. This film’s actions are about revenge against oppressors, even if peace and community are just around the corner after 12 hours are up.

The First Purge is a mixed bag. It’s definitely divisive and borderline glorifies violence. However, it’s not altogether superficial either. It empowers as it champions change and industry diversity on screen. Without question it gets the viewer to address where they stand on all the societal issues it raises which can only be a good thing.

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Sicario 2: Soldado ****

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Posted: 15/07/2018

Emily Blunt was our moral compass in the first Sicario film when things got way out of hand. The latest sequel entitled ‘Soldado’ switches that point of view to the ‘sicario’ or hitman, Alejandro, played by Benicio del Toro in the 2015 film. It’s an interesting angle alone, one of redemption in a film that keeps you well on your toes, even from the opening scenes when you think it’s heading in another direction.

The cargo has moved on from drugs to people trafficking in Soldado. After a terrorist attack on US soil, the US administration calls on military man Matt Graver’s (Josh Brolin) help and that of his soldiers to hit the cartels, escalating matters into a cartel-on-cartel war. Graver uses the serves of mercurial Alejandro once again, only the plan massively backfires, putting all in danger and loyalties to the test.

As gritty at the first and just as unforgiving in violence, Soldado weaves its bloody plot, twisting and turning in direction to emphasise the lack of control over the mayhem that is self-created by administrations. The second film has just as much tension and stand-offs as the first, but its hook is that of the less-than-squeaky-clean Alejandro having an intriguing crisis of confidence.

As ever, del Toro is captivating, downplaying his emotions in the role, without lessening the impact of what his character is experiencing. In a reflective stance, we seen a more human side to Alejandro when karma bites. Short of satisfaction when this happens, we begin to side with him and will him to survive, after the real evil is exposed rendering the drugs cartels mere armed pawns.

Brolin still commands a convincing alpha male presence as Graver. However, no one character is completely predictable in nature – a credit to the writing power of Taylor Sheridan. Gomorrah director Stefano Sollima takes over from Denis Villeneuve’s capable hands, adding a darker air of malaise that stamps his mafioso expertise all over proceedings, in the make-up of all the players, including that of the US administration.

Sicario 2: Soldado is a very worthy, well-paced and multi-layered sequel that moves the narrative forward. In fact it displays global problems and security concerns still within the same stomping ground, never tiring in its narrative that is ever expanding and consuming. It will be very exciting to see where allegiances lie next.

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Ocean’s 8 ****

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Posted: 15/07/2018

Much like Ghostbusters going all-female, some have grumbled at an Ocean’s cast headed by Sandra Bullock. Can it work and keep the magic? Like the latter franchise, this addition to the heist one has its own merits – once you can get past the obvious plastic surgery to some of the cast in the first 20 minutes.

Bullock’s Debbie Ocean has all the family skills her late brother Danny (George Clooney) had, plus lots of cool-as-a-cucumber savvy to pull this off with her ladies. It is a fun caper, full of diamonds and glamour to boot. It doesn’t necessarily have the complex twist and turns of the latter films, but it has its own ‘how to’ videos post raid and complexity does not equal a better film. There is a final twist too.

Bullock is used to deadpan delivery – be that in comedic or serious roles, so she is believable as a poker-faced Ocean. In fact, each of the cast big hitters – Cate Blanchett, Helena Bonham Carter, Rhianna, Sarah Paulson etc – all play to their screen strengths in a good casting of characters that gel and bounce of each other.

The wildcard is Anna Hathaway as ditzy, narcissistic actress Daphne Kluger who seems to revel in playing plain dumb then pulling the wool over everyone’s eyes. Her character has the most fun time, complete with unflattering toilet scene. Hathaway is a versatile actress and this sort of part plays to her obvious strengths.

The action is less than the other films but the strategy and technology is still abundant. Writer-director Gary Ross’s slick production does not stray from the latter films either. Although the odd visual explanation could do with a trim to keep the pace, the glitz and devious nature of the ladies more than keeps the interest. Indeed, there appears to be more individual personality this time with those involved that adds the proceedings rather than swamps the heist.

Ocean’s 8 adds another dimension to the energetic franchise and needs a strong protagonist in Bullock to drive it forward. There is also the ever-present spectre of Danny looming over proceedings, cashed in on more in downtime with Debbie, especially at the end, when you wonder whether one of the greatest thieves of all time has tricked all – even his sister.

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