From Focus Features and Working Title comes an irresistible new take on Jane Austen’s iconic SENSE AND SENSIBILITY: a charming, witty, and deeply relatable story of love and sisterhood starring Daisy Edgar-Jones and Esmé Creed-Miles.
From director Georgia Oakley and starring Daisy Edgar-Jones, Esmé Creed-Miles, Caitríona Balfe, Frank Dillane with George MacKay and Fiona Shaw, watch the first trailer for SENSE AND SENSIBILITY.
Jane Austen’s story has had three TV adaptations and two previous film versions including the well known 1995 film directed by Ang Lee. Actress and screenwriter Emma Thompson won the Oscar for Best Adapted Screenplay.
As people gather from different corners of the globe to reunite with their families during this holiday season, here comes a film about a family that’s never apart. That’s because they’re all, or nearly, the people left on the planet. For many that may sound like a horror movie, but this can’t be completely categorized as that (so no, it’s not another zombie takeover). As may be expected it is a fairly heavy drama, but it’s also…a musical. This year has seen many tune-filled tales of different styles. We’ll soon see a couple of “jukebox” biographies with BETTER MAN and A COMPLETE UNKNOWN. And the multiplex is still packed with fans of the Broadway-based WICKED. But this new film is closer in spirit to last month’s EMILIA PEREZ as it tackles an unusual subject to be set to music. After all, would you be bursting into song, let alone dance, as you face the very real prospect that this could be THE END?
The story begins deep underground in caves that seem to be part of a massive salt mine. Old cars and pieces of furniture are covered in white dust. Just past a pair of massive steel doors, we meet the family. Somehow they’ve made a cozy, mansion-style habitat, run by Mother (Tilda Swinton). She spends much of her time making sure the rooms are tidy and finding just the right spot for the paintings that would be in the collections of famed museums. Putting around nearby is Father (Michael Shannon), former CEO of an energy conglomerate. They’re also focused on their only sibling, the twenty-something Son (George MacKay). Aiding them is a small staff that has become members of the extended family. Mother’s longtime Friend (Bronagh Gallagher) is the housekeeper/chef. Butler AKA “Butterball” (Tim McInnerny) also helps with the cleaning while tending to Father. And making sure everyone is healthy is the Doctor (Lennie James). Aside from moving the art, most of the day is spent in preparedness. After some brisk lap swimming in their modest pool, Son must be tested in fire safety drills. That’s when he’s not in target practice, in case any of the survivors on the surface try to break in. We learn that a disastrous climate catastrophe set the globe afire a few decades ago. The monotony is finally broken as they patrol about the entrance and discover a young woman has broached the cave. The unconscious Girl (Moses Ingram) is cleaned and nursed back to health before she is to be returned to the surface. But after they hear her desperate pleas, the family has a change of heart. Maybe they can share their resources from their well-stocked greenhouse and aquariums. Plus the Girl is nearly the same age as the Son. Could they save the world by repopulating the planet? It all depends on whether the family can survive after her recent trauma reopens painful emotional wounds from their past.
The big draw for this quirky film might be its always quirky lead actress. Swinton dives into her considerable bag of acting skills to give us another dithering yet tragic eccentric. Mother desperately wants to hang on to the manners of society by being fixated on tidiness and the ongoing display patterns of the painting in a gallery no one else will ever see. It’s interesting that she’s paired with the often scary Shannon who makes Father a shambling, affable fellow (I see a bit of sitcom icon Ozzie Nelson, but due to his unique hairstyle and glasses I kept seeing my favorite cranky former late-night host). It’s not until Father is emotionally “poked” do we get a sense of his inner rage. Doing that poking is his Son who is editing his memoirs (for …someday), and MacKay displays great affection for both parents, though his wide-eyed expression hint at his surprise at being with the “ghosts of the past”. His joy alternates with his anxiety over being the person to “carry on’. But that exhuburance is re-ignited by the arrival of the Girl, who is given a skittish “lost soul” vibe by Ingram, as she treads lightly to fit in, while trying to process the guilt over leaving her own family. Of the “staff”, Gallagher as Friend gives us another haunted survivor who feels a devotion to Mother while also trying to “right the past” with her maternal bond with Son. McInnerny is a sad-faced subservient who’s also full of regret while trying to amuse the others at the expense of his dignity. And James is a nasty “hard case” who lives to “lash out” as a Doctor with the worst “bedside manner”.
In his first narrative feature film, director and co-writer (with Rasmus Heisterberg) Joshua Oppenheimer strives to give the story a dream-like quality, resembling a modern, really futuristic, fairy tale using tiles rather than names (Mother, Father, etc.). Ultimately this becomes repetitive after the Girl begins to settle and a courtship starts with her and Son. This is also when the musical “novelty’ begins to wear thin. Mind you, I was “gobsmacked” when the Son began warbling in the first five minutes of the film. And aside from sharing a very somber adult subject matter, this film suffers from the same malady as EMILIA PEREZ, namely the melodies. The songs are increasingly forgettable, many sound too similar, and the vocal styling of some of the actors is inconsistent, even grating. But unlike PEREZ, the cherography is mainly the actors jumping around the salt piles though Shannon and McInnerny share a simple soft shoe routine. After much melodramatic “hand-wring”, truths are revealed, and a new tragedy occurs which leads to an abrupt “fast forward” that doesn’t address any of the third-act bombasts. It’s an unusual and creative way to tell a survival story, but its turgid pacing and tepid tunes may have you anxious to see that title card indicating THE END.
Once again the years encompassing the Second World War prove to be a fertile ground for filmmakers, and a compelling subject for filmgoers. This new film focuses on the “lead up” to the US involvement, to give us a look at the dark clouds just beginning to form over Europe. And, as this film infers, the friendship of two young men may have made an impact on the upcoming conflict. One from England, the other in Germany, but both are determined to keep their respective homeland safe from destruction. And everything seems to come to a “boil” during an unexpected reunion in MUNICH: THE EDGE OFWAR.
We first meet these two “school chums” in a flashback prologue. Brit Hugh Legat (George MacKay) and German Paul von Hartman (Jannis Niewohner) are getting blissfully “pissed” at a party celebrating their 1932 Oxford graduation. Much to the chagrin of their mutual “gal pal” Lenya (Liv Lisa Fries), the talk turns to the new political movement in Paul’s home country. He’s thrilled that the new chancellor is restoring pride to his people. Hugh’s more than a bit skeptical…and leery. The story abruptly jumps to 1938 as Hugh makes his way through the crowded London streets, observing its citizens buying gas masks and filling sandbags, on the way to his high-pressure job as a translator for Prime Minister Neville Chamberlain (Jeremy Irons). Concern over a possible invasion of Czechoslovakia is putting a strain on his marriage to wife Pamela (Jessica Brown Findlay), as he insists she take their young son to stay with relatives in the country. Meanwhile, in Germany, Paul also has a government job as a foreign “media monitor” for the chancellor, though he’s secretly soured on Herr Hitler. Paul’s also part of a secret group of insiders wanting to stop “the madmen”. When their plans to arrest Hitler are thwarted, Paul’s secretary/lover gives him a confidential transcript of a meeting outlining Hitler’s plans for conquest. But how to get this report public? Fate opens a door when a “peace conference” is quickly set by Mussolini and Chamberlain with reps for Britain, France, Italy, and Germany meeting in Munich. Hugh is stunned to be invited, then shocked to learn that operatives have gotten word from old buddy Paul (they’ve now estranged), that he wants to give this transcript to him. Can Paul make “the drop” without putting Hugh in jeopardy? And how will the BP respond to this “bombshell” file?
The film hinges on the relationship of the two Oxford alum, played by a dynamic acting duo. MacKay (the main “runner” of 1917) aptly conveys the mood of Great Britain at this time of tension and uncertainty. Hugh is a man being torn by all sides, duty to his country snd job constantly wrestling with his family yearnings. MacKay shows us the anxiety bubbling up in Hugh, as his eyes dart and his body twitches while his wife pleads with him to let her share his feelings. He has moments of peace with the PM, but soon his anxiety takes over as he’s plunged into the espionage arena. But Hugh doesn’t undergo a radical change like his “mate” Paul. In the flashbacks, Niewohner is a firebrand, radicalized into zealotry along with many of his brethren. We soon see that his eyes are open, as Paul is finally “sober” after being drunk on national “pride”. Niewohner shows us how Paul struggles to keep his “mask” in place in public before being able to breathe in his efforts to topple the “false god”. Like Hugh, he’s out of his element as an operative, seeing informers at every glance. Happily, the film grants another great role to a dependable screen vet. Irons helps restore dignity to the often disparaged historical figure, a man who values honor despite the scoundrels surrounding him. At times he’s a kindly mentor to Hugh, a warm “Dutch Uncle” as they exchange school stories. But he’s also a tough taskmaster, demanding the same dedication that he possesses, though we see that it wears him down. The BP is somewhat haunted by the horrors of that first world war and Irons shows us that fear and sadness breaking through his “stiff upper lip”. As for the forces “across the table”, August Diehl embodies the rampant Nazi brutality as a grade-school bully of Paul’s who has been given a bigger “club” to wield. And then there’s “Schicklgruber” himself, a cold megalomaniacal sociopath played with dead-eyed banality by Ulrich Matthes.
Director Christian Schwochow expertly changes the tone for the film, lulling us with a hazy nostalgia in the opening Oxford scenes, before capturing the hovering mood of impending doom for the dizzying dance through a London gearing up for the worst. He then puts us in the middle of Germany, a land seemingly giving into every barbaric impulse (we see berated Jewish citizens taunted and forced to scrub sidewalks). Though the rise of the Nazis has been the subject of many films, it’s given an intimacy here and somehow an immediacy. Recent events here have shown us how our neighbors can be swept up by lies told with vigor and zeal. Much like THE LAST DUEL, this historical tale has an urgency, thanks to the script by Ben Power taken from the novel by Robert Harris. It also makes us view Chamberlain in a new light, showing us that he wasn’t quite the naive incompetent that many have labeled him, though his successor proved to be the forceful leader needed to stare down the evil from the East. Chamberlain believed in honor, but he had a “backup plan”, even hoping that the “Yanks” would join in. The air of tension and paranoia is kept going through the story. And it’s greatly aided by the superb recreation of the period, from the furnishings and auto to the fashion styles and music. MUNICH: THE EDGE OF WAR is a compelling, taut, well-told tale of those risking everything to protect everyone.
3 Out of 4
MUNICH: THE EDGE OF WAR opens in select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas on Thursday, January 20. 2022. It begins streaming on Netflix the following day.
IFC Films will release TRUE HISTORY OF THE KELLY GANG – On Demand and Digital April 24th.
Review by Stephen Tronicek
t’s a rare and wonderful treat when the mise-en-scene of a particular film becomes so crazed that you feel true terror but also cathartic beauty. The Texas Chainsaw Massacre achieves this, Possession (1981) achieves this, Justin Kurzel’s Macbeth achieves this and now Kurzel’s most recent film True History of the Kelly Gang does. The concoction is two-fold, one part believing and empathizing with characters and one part placing them in an ungodly situation. In order to do that, a filmmaker has to pull out the stops, formalistically and emotionally. Kurzel does.
Following the true exploits of Ned Kelly, an Australian outlaw played with uncompromising vigor by George MacKay (1917), True History of the Kelly Gang aims to explore a more empathetic version of the outlaw’s tale. Shaped by trauma and colonial terror, Ned is forced into a corner by a villainous English officer (a better than ever Nicholas Hoult). Out of this corner, he explodes violently, becoming a bank robber and amassing a small army of men to spring his bride (Tomasin Mackenzie) and his mother (Essie Davis) from prison.
The strongest element of True History of the Kelly Gang arises out of how potent the storytelling is. Kurzel has always been very good at taking the macro elements of mythological and historical storytelling and boiling them down into intimate stories without losing any of the gravitas. One only needs to look towards his adaptation of Assassin’s Creed to figure out whether or not this approach always works but in True History, the results are electrifying. It feels at once huge yet always grounded in the moment, buoyed by delicious details and performances. MacKay is an interesting everyman, emanating a scared boyishness behind his crazed conviction, Hoult is downright terrifying and salacious, Essie Davis (The Babadook and also Kurzel’s wife) crafts a performance of punishing resilience and Russell Crowe shows up briefly in a role that could be logged within his best. All of that is to say nothing of the blistering formalism on display.
Kurzel has been developing a type of arthouse action for a while, at once confusing to read, yet visceral to behold. Again, one only needs to look as far as Assassin’s Creed to see that it doesn’t always work. In True History it springs to life. It plays like The Revenant without all the navel-gazing theatrics, holding onto the immediacy but never sacrificing the brutality. Special attention must be brought to cinematographer Ari Wegner and his group of operators, film editor Nick Fenton, the hard-hitting sound work, and the beautiful score by Jed Kurzel. All of these elements contribute to the weight of what is onscreen.
All of these elements build to a moment of true terror, that won’t be spoiled, a satisfying climax to say the least. There are little flaws tucked away into the fabric of the film, there’s not much place for the women characters other than Davis’s mother character and it maybe runs a little long, but these pale in comparison to the uncompromising power on display. If you’re in the mood for a nasty tale, one that won’t let you down, you could do a lot worse than True History of the Kelly Gang.
” They’re walking into a trap. Your orders are to deliver a message calling off tomorrow morning’s attack. If you fail, it will be a massacre.”
OWN IT STRAIGHT FROM THEATERS ON DIGITAL MARCH 10, 2020 4K ULTRA HD, BLU-RAYTM AND DVD MARCH 24, 202 FROM UNIVERSAL PICTURES HOME ENTERTAINMENT
1917, the critically acclaimed, multi-award winning action spectacle including Academy Award® winner for Best Cinematography arrives on Digital March 10, 2020 and on 4K Ultra HD, Blu-rayTM and DVD March 24, 2020 from Universal Pictures Home Entertainment. Hailed as “One of the most extraordinary cinematic achievements of the year” (JoBlo), the universally acclaimed film combines groundbreaking film making, memorable performances, and an unforgettable insight into the human experience against the shattering background of war. Additionally an Oscar® winner for Best Visual Effects and Best Sound Mixing, 1917 is “a new war movie classic” (NY Post).
Now you can win the Win the Blu-ray of 1917. We Are Movie Geeks has one copy to give away. All you have to do is leave a comment below telling us what your favorite movie is that takes place during WWI. (mine’s PATHS OF GLORY). It’s so easy!
1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.
2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.
In 1917 at the height of the First
World War, two young British soldiers, Schofield (MacKay) and Blake (Chapman) are given a seemingly
impossible mission. In a race against time, they must cross enemy territory and
deliver a message that will stop a deadly attack on hundreds of
soldiers—Blake’s own brother among them. 1917 comes to Digital, 4K Ultra HD,
Blu-rayTM and DVD with bonus content showcasing the incredible craft
and artistry behind the immersive feature, including a detailed look into the
production design, how the film engineered a one shot, 360-degree format and
interviews with the cast and crew.
In 1917, Academy Award®-winning director
Sam Mendes (American Beauty, Spectre,
Skyfall) brings his Golden Globe® and BAFTA award-winning directorial
performance to a script co-written alongside Krysty Wilson-Cairns (“Penny
Dreadful”). The filmstars breakout actors George Mackay (Captain Fantastic, Pride, Sunshine on Leith) and Dean-Charles
Chapman (HBO’s “Game of Thrones”). Accompanying Mackay and Chapman are standout
performances by Mark Strong (Tinker
Tailor, Kingsman, The Imitation Game), Andrew Scott (“Fleabag”, Sherlock, Spectre), Richard Madden
(Netflix’s “The Bodyguard”, Rocketman, HBO’s
“Game of Thrones”), Colin Firth (The King’s Speech, Kingsman, Bridget Jones) and
Benedict Cumberbatch (Sherlock, Dr.
Strange, The Imitation Game). The film was produced by Mendes, Pippa Harris
(“Penny Dreadful”, “Call the Midwife”), Jayne-Ann Tenggren (Spectre, Extremely Loud & Incredibly Close), Callum McDougall (Spectre, Skyfall, Casino Royale) and
Brian Oliver (Rocketman, Black Swan).
Learn how the one shot,
360-degree format was executed and the pivotal role Academy Award® winner
Roger Deakins served in bringing Sam Mendes’ vision to life.
Composer Thomas Newman and filmmakers discuss the important
role of the Academy Award®-nominated score.
Go behind the scenes with the cast of 1917.
Filmmakers offer a detailed look at the production design
challenges of recreating the First World War.
1917 will be available on 4K Ultra HD combo pack, which
includes 4K Ultra HD, Blu-ray™, & Digital Code.
4K
Ultra HD is the
ultimate movie watching experience. 4K Ultra HD features the combination of 4K
resolution for four times sharper picture than HD, the color brilliance of High
Dynamic Range (HDR) with immersive audio delivering a multidimensional sound
experience.
1917
4K Ultra HD is available with HDR10+™, providing a premium
HDR picture quality. HDR10+ transforms your movie watching experience with
incredible brightness and contrast for each scene, delivering brighter brights
and deepest darks.
Blu-ray™ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
Digital lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.
The Movies Anywhere Digital Appsimplifies and enhances the digital movie collection and viewing experience by allowing consumers to access their favorite digital movies in one place when purchased or redeemed through participating digital retailers. Consumers can also redeem digital copy codes found in eligible Blu-rayTM and DVD disc packages from participating studios and stream or download them through Movies Anywhere. Movies Anywhere is available only in the United States.
Coming out the Cannes Film Festival, here’s a first look at director Claire McCarthy’s OPHELIA.
Currently in production in Prague, the cast includes Daisy Ridley (upcoming Murder on the Orient Express, Star Wars: The Last Jedi), Two-time Academy Award nominee Naomi Watts (Divergent series, The Impossible), Golden Globe winning and Academy Award nominee Clive Owen (Closer, Children of Men, upcoming Valerian and the City of a Thousand Planets), George MacKay (Captain Fantastic, Pride), Devon Terrell (Barry) and Tom Felton (Harry Potter series).
Set in the 14th Century but spoken in a contemporary voice, OPHELIA is a dynamic re-imagining of Shakespeare’s Hamlet. Written by Semi Chellas, OPHELIA is adapted from the book by Lisa Klein.
Ophelia (Ridley) takes center stage as the Queen’s (Watts) most trusted lady-in-waiting. Beautiful and intelligent, she soon captures the attention of the handsome Prince Hamlet and a forbidden love blossoms. As war brews, lust and betrayal are tearing Elsinore Castle apart from within and Ophelia must decide between her true love or her own life in order to protect a very dangerous secret. Owen will play Claudius, MacKay will play Hamlet, Felton will play Laertes, and Terrell will play Horatio.
McCarthy previously helmed THE WAITING CITY. The 2009 Australian film featured Joel Edgerton and Radha Mitchell and was an official selection at the 2009 Toronto International Film Festival.
At present Covert Media is handling international sales in Cannes.
