Review Category: Movie

Matthew Vaughn’s films don’t always hit the target, and they’re often accused of being tonally misjudged, but there’s no denying that he knows how to craft an exciting, adrenalised action film full of wit, invention, and often ludicrous spectacle. He’s done it again with Argylle, a witty and clever spy thriller from a script by Jason Fuchs that constantly surprises with the ingenious twists and turns of a plot that borders on the ridiculous yet never quite topples into extreme parody.

Argylle confounds its audience’s expectations from the off in a high-energy action scene clearly intended as a parody of old-school Bond as superspy Argylle (Henry Cavill) pursues the sultry LaGrange (Dua Lipa) around vertiginous coastal roads in Greece, and it’s as corny as hell. Then we discover that what we’re watching is a sequence from the latest spy thriller novel written by Bryce Dallas Howard’s slightly mousy cat-loving author, Elly Conway, being read to a breathless audience at a book launch reading. Elly has had huge success with a series of books based on her imaginary spy, Argylle, and when she finds herself facing writer’s block trying to find a suitable ending for her fifth book, she takes a train trip to visit her parents in Chicago in search of inspiration. But on the train, she meets up – coincidentally? – with Aidan (Sam Rockwell), an actual spy who quickly and creatively saves her from being attacked by a group of assassins from a criminal organisation known as the Division. It turns out that her novels have uncannily predicted the future of their operations, and they’re keen to find out what she knows and what’s going to happen next.

The subsequent two-plus hours are a dizzying, helter-skelter thrill ride of increasingly absurd (and frankly impossible) action scenes and wild globe-trotting wound tightly around a plot that gives a new meaning to ‘far-fetched’ and yet is irresistibly enjoyable because it all works and comes together inside the world the film has created for it. Howard and Rockwell are having a great time, and it’s clear that the rest of the cast are indulging themselves, too. There are great turns from Bryan Cranston, Samuel L Jackson, Catherine O’Hara and Chip the cat and while audiences may have been led to believe that Henry Cavill’s the star of the show here, his brief twinkling cameos are terrific fun.

Undoubtedly, some might find Argylle’s knowingness insufferable and a bit smug and become exasperated by the overuse of CGI/green screen, another example of the film playing with its own sense of unreality. But if you’re in the mood for some fast-paced, non-stop, irreverent action that turns its own genre inside out, then Argylle’s the one for you. Vaughn’s plans to launch a new franchise off the back of the film might not fly if early box office is any measure, but c’est la vie. Perhaps the campaign to get Vaughn on board to direct the next Bond film (if there ever is one) should start here – based on Argylle, he clearly knows just what it would take to shake 007 out of his doldrums and launch him back into the centre of action cinema again. But for now, if nothing else, Argylle is guaranteed to blow away those February blues.

ARGYLLE is in cinemas now

Fans of claustrophobic, moody chamber-piece thrillers will find much to enjoy in Laced, the feature film debut from Kyle Butenhoff, who also appears in the film as the victim of what, at first blush, might appear to be the perfect crime. Those who prefer a bit more action and pace might find their attention wandering. Molly (Dana Mackin) and her husband Charlie (Blutenhoff) are holed up in an isolated cabin as a ferocious snowstorm rages outside. They’re not exactly trapped, but they’re not inclined to leave either. There’s some tension between the two, but it’s only when Molly laces Charlie’s food with poison that we realise their relationship isn’t exactly a match made in heaven. There’s a history of toxic abuse here (although the film could perhaps have made a few more efforts to make Charlie into more of a bastard as he doesn’t seem too unreasonable – a bit boorish, maybe – when we meet him), and we find out what Molly has conspired with her lover Victoria (Hermoine Lynch) to remove the one obstacle standing in the way of them being together. But when Molly’s brother Austin (Zach Tinker) arrives, battling his way through the storm to join the couple, Molly and Victoria’s plans quickly go off the rails and spin out of control…

Laced is not without interest and atmosphere, but the story unfolds at a snail’s pace, the characters aren’t hugely sympathetic, and the single locale quickly becomes stifling and restrictive. As an exercise in low-budget filmmaking, it has its moments (and a couple of jump scares), and it finds a much-needed fresh energy in the last act, but ultimately, it comes across as a better proposition for a stage play than a film.

LACED is available on digital platforms in the US. 

 

Ever wondered about ‘The Card Counter Movie’? Starring Oscar Isaac as William Tell, the film features a world of high-stakes poker and personal pasts.

Paul Schrader directs this movie, combining deep psychology and poker drama.

We’ll explore Tell’s intricate story, memorable performances, and some bonus film trivia, no spoilers included!

An Introspective on The Card Counter: Quick Recap

The Card Counter presents William Tell, a lonesome veteran who’s now a top-class poker player.

His life orbits the gaming table, signaling his inward battles. Skillfully counting cards isn’t just a part of his plan for winning—it’s also how he copes with his troubled past.

William navigates the tricky gambling world on his redemption path while tackling past events.

The plot thickens as he becomes a guide, teaching strategies and poker rules to Cirk, a revenge-driven youth, and La Linda, a secretive poker agent, nudging him toward the World Series of Poker.

William Tell by Oscar Isaac: Military Interrogator to Pro Poker Player

Oscar Isaac‘s portrayal of William Tell, a man who’s swerved from military life to professional poker, is thrilling.

Isaac’s acting illuminates his strategic prowess at poker tables, a testament to his silent and precise nature, shaped by his time in the military.

Isaac’s portrayal of Tell reflects the military precision and discipline he once practiced as an interrogator.

His routines and methods clearly echo his past, making his character one of the most intriguing in recent cinematic history.

Tiffany Haddish as La Linda: A mysterious poker agent

Tiffany Haddish, as La Linda, is a poker agent who becomes an influential figure in Tell’s life. Her character is layered and mysterious, pushing Tell towards the high stakes of the World Series of Poker.

Haddish’s performance adds a new dimension to the narrative, making it even more compelling with its riveting performances.

Tye Sheridan as Cirk: A young man seeking redemption and revenge

Tye Sheridan portrays Cirk, a young man with a troubled past seeking redemption. His character is driven by a thirst for vengeance against a military colonel he holds responsible for his father’s fate.

Sheridan’s performance adds an element of tension and urgency to the narrative, making his character’s journey one of the most emotionally charged aspects of the film.

Paul Schrader’s Cinematic Mastery

Director Paul Schrader’s unique style is evident in “The Card Counter,” a film that can be seen as part of Paul Schrader’s lengthy inquiry into complex characters and their inner struggles.

Schrader’s direction showcases a meticulous cinematic style marked by minimal camera movement and an absence of music cues to craft unsettling atmospheres, embodying Schrader’s trademark cinematic intensity.

His use of transcendental cinema motifs and specific framing techniques are employed throughout the film, including purposeful play focusing on isolating the protagonist or blending him with his surroundings, making it an authentic Paul Schrader experience.

Pictorial narrative: Unraveling the use of ordinary sheets in roadside hotels

The movie’s pictorial tale is distinctive and grabs attention, featuring intense acting in this retribution-related suspense.

Confusing imagery and regular sheets in motel rooms mirror the main character’s distressing history, giving the viewer a disquieting feel.

In the Venice Film Festival, the movie makers used a 220-degree fisheye lens to present a visual analogy for an abuse and trauma mark.

Subjects of remorse and atonement: The serious part of Abu Ghraib and military jail.

The suspense story of “The Card Counter” introduces notions of remorse and atonement through its leading character, William Tell.

Tell shoulders guilt for his past as a jail officer in Abu Ghraib, which is revealed through his interactions with a young man who harbors his father’s legacy tied to the same incidents.

This movie stretches beyond just Abu Ghraib or card counting, but builds an overall story to explore more expansive ideas of personal accountability and the ethical fallout of past actions.

Recap

To summarize, “The Card Counter” interweaves a captivating story of remorse and atonement. It effectively combines character building, a captivating plot, and a unique pictorial narrative.

With careful direction by Paul Schrader, the combined performances of Oscar Isaac, Tiffany Haddish, and Tye Sheridan piece together a powerful tale that connects with viewers.

 

Having established himself in his two ‘breakout’ titles, The Lobster and The Favourite (an unlikely but deserved multi-Oscar nominee), Yorgos Lanthimos cements his reputation as one of the film industry’s most unique, audacious, and possibly even divisive talents. His films are like nothing else; weird, angular, and awkward, his stories hewn from the darker side of human nature, often leavened by arch and almost slapstick humour and studded by bizarre, sometimes shocking, imagery. Based on Alasdair Gray’s acclaimed 1992 novel, Poor Things is not only the director’s best work yet, but it’s also his most extraordinary, marrying beautiful, surreal imagery in a Victorian era that’s slightly off-kilter with the one we’re familiar with from our history books to a bizarre, often unsettling story that exposes the human compulsion for cruelty and selfishness yet counterpoints it with the naïve innocence and simple joy at being alive of its unusual protagonist.

Bella Baxter (Emma Stone, outstanding here) is the child-like young ward of eccentric, disfigured surgeon Godwin Baxter (Willem Defoe). Medical student Max McCandles (Ramy Youssef) is recruited by Godwin to chronicle Bella’s physical and mental development. Bella, it turns out, committed suicide by hurling herself from a bridge whilst pregnant. Godwin recovered the body and replaced her brain with that of her unborn but still alive baby. Bella has the body of a young woman but the mind of a tottering toddler. As she quickly develops full mobility, her intelligence grows, and she becomes increasingly curious, discovering her own sexuality and sensuality. Bella becomes engaged to Max but craves independence and is lured into a life of travel and adventure by the leering, rakish Duncan Wedderburn (Mark Ruffalo), who takes her off on a grand cruise. But Wedderburn finds that Bella is not easily tamed, and her insatiable curiosity and her relentless naivety, coupled with her aching compassion, find the pair pitching up at a snowy Paris where Bella’s life takes a very sharp – and quite dark – turn that will change her forever.

To say more would be to spoil the untold stunning delights of this gorgeous, evocative and sometimes quite shocking piece of modern cinema. Lanthimos creates a world – entirely on soundstages – that is richly detailed, bursting with vivid colour (although the film opens its account in moody monochrome) and populated in places by grotesques living side-by-side with the innocent and the exploited. Through all its visual and narrative extravagances marches Stone’s Bella, wide-eyed and innocent, a human blank slate but learning the ways and the wiles of the world and always managing, often entirely inadvertently, to turn them to her advantage. It’s a film alive with astonishing, nuanced and very Lanthimos performances – Ruffalo brilliantly showing his acting chops again after years shackled to Marvel as the louche, sleazy Wedderburn and Defoe at his best as the troubled surgeon, a man who has himself become a monster thanks to his own ghastly childhood. But this is Stone’s film, a role that she embraces fearlessly, hurling herself into some outrageous and explicit set pieces with gusto.

Poor Things is many things – it’s an extreme fantasy, steampunk sci-fi, and a twisted take on Frankenstein. It’s frequently hilarious, too (Vicki Pepperdine as Godwin’s maid, Mrs Prim, gets the biggest laugh) as it continues Lanthimos’ speciality for stilted, awkward dialogue delivered almost deadpan. It’s also a masterpiece, albeit one that many will find infuriating and, at places, hard to watch, much less stomach. But for those of a sturdier disposition, Poor Things is an absolute joy, mesmerising and magnetic and surely quite unlike anything else the year ahead in cinema has in store.

POOR THINGS is in cinemas now.