Displaying items by tag: Aaron TaylorJohnson

KRAVEN THE HUNTER

US, 2024, 127 minutes, Colour.

Aaron Taylor-Johnson, Russell Crowe, Arianna DeBose, Fred Hechinger, Alessandro Nivola, Christopher Abbott, Levi Miller, Billy Barratt.

Directed by J.C.Chandor.

Kraven the Hunter was created by veteran Marvel Comics expert, Stan Lee. As the title suggests, he is a Hunter, literally of animals as well as of human beings, a foe of Spiderman.

The Spiderman series was made in collaboration with Marvel Studios by Sony. The Sony Marvel action films have been far less successful than the others, beers, Venom, Madame Webb and, now Kraven. In fact, Sony executives have commented that the press “crucified” Madame Webb as well as Kraven making them financial flops, both in 2024.

And, this is a pity with Kraven because it is actually an action show more than a superpowers show, even though Kraven himself has received the capacity for extraordinary climbs and leaps.

Perhaps the central character is not too sympathetic – although Morbius and Venom are not the most attractive superpower heroes.

The film opens strikingly, a convoy of prisoners in the Russian snow and isolation, a harsh Gulag, and Kraven, a sturdy presence and performance by Aaron Taylor-Johnson, suddenly appearing, killing several gangsters in the prison, escaping in a plane. And then this screenplay goes back to an origins story, 16 years earlier.

There are two young Russian boys in the New York elite school, visited by their father, a big Russian drug dealer played with quite some heft and heaviness by Russell Crowe. He makes demands on his sons, especially the older, Sergei (played here by Australian Levi Miller). On safari in Ghana, the young man is mauled by a lion, allegedly legendary, eventually killed by his father keeping it is a trophy. But, Sergei is saved by a mysterious African young woman, Calypso, with tarot cards and a special potion.

Sergei then becomes Kraven, isolating himself, living in Russia, a Hunter, able to be hired to pursue criminals. But, every year, he comes to New York to visit his brother, now a musician and lounge singer, in New York and some contact with his father.

Then various complications ensue, the abduction of the younger brother, the emergence of an arch-criminal, rivalling the father, Rhino (Alessandro Nivola who also has had some strange injections and, unless tempered, his skin becomes like that of a rhinoceros). He also hires a killer, The Foreigner (Christopher Abbott) who can mesmerise his opponents through gazing at them and overpowering them.

What follows is action adventure, the kind that Liam Neeson and other actors used to get involved in, scenes in Turkey, Russia, a rescue for the younger brother, double Cross, Calypso (Ariana DeBose) to the rescue… And a final confrontation with the father. And the importance for Kraven to establish his own moral code.

Which means then that the scenario is ready for an action adventure with Kraven and a confrontation with Spiderman.

1. Kraven and his place in marvel comics, as a hunter in himself, and the conflicts with Spiderman? This film is an origin story for Kraven?
2. The Marvel tradition, the hero, origin, superpowers, confrontations with the villains, personal relationships, testing, exercise of power responsibility, the temptation of the dark side?
3. The range of settings, link Russian countryside, Eastern Europe and the forests, Kraven space, the privileged school in the United States, the sequences in London, homes, the club, the monastery in Turkey? The musical score?
4. The introduction to Kraven, the prisoners, the bus, his challenge, in the prison, sharing the cell, three days, the fights and his abilities, confrontation with the authorities, the gang Lord, the deaths, the abilities of his escape, the flight?
5. 16 years earlier? The back story of Kraven and his brother, the elegant school in New York, their careers of the school, their future? The visit of their father, the demanding man? The story of their mother, Russia, the property, the decline, death? The father, domineering, his business deals, drugs?
6. The father and his expectations of his sons, Ghana, the hunt, testing his sons, the legendary lion, stalking, the attack, Sergei and the vicious mauling, the rescue? Healing? But the father killing the lion, having it a trophy in his home?
7. Calypso, a young girl, her grandmother, the tarot cards, the potions, the quest for her? Her seeing Sergei, attending him, his recovery?
8. Sergei, his retreating to Russia, alone, his home, his discovering his powers, superpowers, his skill as a hunter, his career, employed, hunting down criminals? The return to the Russian prison and his killing the criminals and his escape by plane?
9. The exercise of his powers, climbing, leaving…?
10. Kraven the Hunter, vigilante, returning to New York, his relationship with his brother, his brother in the club, pianist, singing, the visits from their father?
11. Dimitri, different, singing, his being abducted, the plan for the rescue?
12. The issue of the ransom, the father refusing to pay, Sergei going to see Calypso, her work as a lawyer, her contacts, getting information, willing to help Sergei?
13. The character of Rhino, seeing him as young and diffident on the hunt in Ghana? The experience, his being transformed, his skin like the rhinoceros? His power? His henchmen, his plans? The rivalry with Sergei’s father? The contact with The Foreigner?
14. The Foreigner in action, strong, his of hypnosis, the eyes? Swift movement, his attack? The money, wanting to lure Kraven, the information, Calypso given the false information? Dimitri imprisoned?
15. The action to Turkey, the taking of Kraven, the dominance of The Foreigner, the buildup to the confrontation?
16. Kraven, Calypso, the escape, the confrontation with his father, his father and the betrayal, the bear and the attack?
17. Rhino, the confrontation, his being destroyed?
18. The next encounter with Dimitri, his change of attitude, becoming more like his father, setting up a confrontation with his brother?
19. Kraven, getting the vest, the fur, from his father, ready for the future – and the conflict with Spiderman?

NOSFERATU

US, 2024, 133 minutes, Colour.

Lily-Rose Depp, Nicholas Hoult, Bill Skarsgaard, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, Simon McBurney.

Directed by Robert Eggers.

Nosferatu was the title of the early film version of Bram Stoker’s Dracula, 1922, Germany, vivid black-and-white photography, angles, framing, Expressionist. The title was also used in 1979 for Werner Hertzog’s version of the story and tribute to the 1922 film. Now, a 2024 version, once again the tribute to the 1922 film, not only tribute but incorporating many of its visual aspects, and directed by Robert Eggers, only a few films so far in his career, but atmospheric, the Witch, The Lighthouse, The Northman.

Since the 1920s, there have been Dracula and vampire films every decade, some serious, many British, some parodies, even the recent Renfield with Nicolas Cage’s Dracula, also featuring Nosferatus, Nicholas Hoult.

We are in Germany, 1838, wonderful recreation of the town, the streets and ambience, the homes, elegance. There is a very strong supporting British cast including Aaron Taylor-Johnson, Emma Corrin, Ralph ineson, Simon McBurney. There is also a lot of strong dialogue throughout, the point of view of the rationalist who does not believe in the supernatural contrasting with those who do believe and those who are pragmatic faced with unexplained phenomena.

The question can be raised, why another Dracula film in 2024. And will it contribute to an appreciation of the Dracula and vampire legends?

The first attempt at an answer is to consider this film as a drama apart from the horror. The focus is on a young woman, Ellen, Lily-Rose Depp in a striking and physically and emotionally demanding performance. She dreams, has mystical experiences, is in love, makes a pact – which, in fact, will be a diabolical pact. But, she has the possibility of living a normal life, marrying Thomas (Nicholas Holut), hope that he will support and save her. But, he is commissioned by his manager to travel to Romania to negotiate with a mysterious Count Orloc who wants to buy a Castle in the German town. Ellen is fearful as Thomas leaves, and rightly so…

There is mysterious drama, Thomas finding himself in a strange village, superstitious villagers, and then his encounter with the Count.

And the second attempt at and some is to consider the film as horror. The atmosphere at the castle is more than eerie, the suggestions of the malevolent presence of the Count, his face, his behaviour and cruelty, his threats, diabolical consequences. Is played by Bill Skarsgaard as monstrous Some direct horror scenes but always the sense of horror menace. And, when Thomas returns home, the psychological disturbances in Ellen and her erratic behaviour, the count killing his friend’s wife and child, the discussions with an expert (Willem Dafoe) and the explanations of vampire behaviour. And, as well, the town is besieged by a plague of rats. And, Ellen’s disturbed dreams, erotic menace and horror, the unmasking of the Count.

And so, we can ask what are the comparisons with other versions of the story, how well these variations work as drama and horror, and how we are immersed in a world of evil destroying hope and love.

1. The literary tradition of Dracula and Nosferatu, the late 19^th century, Bram Stoker’s novel? The cinema tradition, the 1922 version, the English language tradition of Dracula, serious films, horror films, comedy and parodies? Werner Hertzog and Nosferatu 1979, homage to the 1922 version? This 2024 version, homage, reworking the particular perspectives of the writer-director?
2. Audience familiarity with the story, the traditions, the variations? This version changing the names of the characters, the German city? Drawing on the basic ideas and themes from Bram Stoker and the Nosferatu films?
3. The style of filmmaking? The importance of colour, colour grading, black-and-white, vivid colour, scenes tinted, unsaturated colour, but sometimes with bright highlights? The overall impact of this colour experience? The framing of the film, the angles, the homage to the 1922 version, using its styles? The style of the dialogue, old classical style, all, sometimes arch and artificial, placing the audience in the period, Germany, 1838? The film presented as a modern interpretation of old filmmaking styles?
4. The framework, Ellen, young, the focus on her face, her calling out to the vampire to come to her? Her age, her commitment, her dreams, her melancholy, psychological states? The years passing, her marriage to Thomas, happiness, yet her melancholy, fears, love, his going away, her anxieties? Staying with Richard and Anna? Her dreams, her moods, their concern, a sense of what was happening to Thomas while away, the coming of the mysterious lover? The doctor, his concern, treatment, seeking out of Professor von Frantz, his diagnosis, treatment? Further dreams, the return of Thomas, the sexual encounter and her wanting love, the continuing menace of the mysterious shadow, the shadow coming to the house, overcoming her, the sexual encounter, the sun rising, her commitment, his sacrificing himself for her love?
5. The title, the focus on the vampire, the estate agent, Knock and his eagerness, Count Orloc wanting the house, sending Thomas, the buildup of financial advantage, for his marriage? Knock, his madness, in servitude to Nosferatu, his madness, in the cell, confrontations, killing the guard, the interview with the professor and the doctor? Death? The plague?
6. Count Orloc, in Ellen’s visions, the Shadow, skeletal, the long fingers and nails, Thomas arriving at the village, the village people and their fears, the atmosphere, singing and dancing, yet warnings, was going to the Castle, walking in the snow, the carriage, his experience in the Castle, overwhelmed by the count, violence, blood, his debilitation, escape, taken by the nuns, the Orthodox religious ceremonies, his leaving, out of the power of the Count, his return, debilitated, with the doctor, the professor, Richard, Anna’s death, the plague?
7. The Count, the voyage, in the container, the sailors, the Captain, the rats, the plague, the deaths, the ship arriving in the Port, the dispersion of the rats, the plague and deaths, deaths in the street? The Count, visiting Anna, her being pregnant, the blood? His attack on the two daughters, the deaths, Richard and the burials? The mausoleum and his visits?
8. The doctor, his concern, medical help, friendship with Richard, the reputation of the professor, going to visit him, persuading him to join in? The professor, his personality, reputation, researchers, the occult? The visits to Anna? The visits to Ellen? Thomas’ return? Richard and his scepticism?
9. Richard, friendship with Thomas, lending the money, Richard and his wife, the family, the boisterous two daughters, in the shipping business? His scepticism about the professor, the support of the doctor, his narrations, the death of the family, the burials?
10. The buildup to confronting the Count, the three nights, his approaching the town, coming to Ellen, her trying to resist? The scenes of his possession of her, her not being herself, her face, the town, Thomas and his shock?
11. Thomas and his determination, hurrying to the mausoleum, expecting the vampire, discovering Knock, his madness and death, through the heart?
12. The hurrying back, the encounter with Ellen, the sun rising, remains of the creature, Thomas and his grief, in the final image of Ellen and the remains of Nosferatu?

THE FALL GUY

US, 2024, 126 minutes, Colour.

Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Teresa Palmer, Stephanie Hsu, Winston Duke.

Directed by David Leitch.

A big-budget, Northern Hemisphere summer blockbuster, action and romance – and plenty of stunts – for a happy popcorn audience. And based on an 8os television series with Lee Majors.

The fall guy is usually the one who has to take the blame but the emphasis here is on stunt men who have to do all kinds of literal falls for the action sequences of the movie. Actually, later it is revealed that Colt Stevens, longtime reliable stuntman, is actually the fall guy for a murder.

And it was filmed in Sydney! Action on the Harbour Bridge. Elaborate futuristic science-fiction stunts in front of the Opera House, action chases on the harbour.

And the star is Ryan Gosling. For 20 years he has been a very serious actor, able to do comedy, and hitting the headlines as Ken, I’m just Ken, in last year’s very popular Barbie. The Fall Guy won’t dent his popularity at all. All kinds of stunts, some deadpan lines, some pining for Jody, the camera director who is now making her first feature film, Metalstorm, an action show which looks like a minor variation on Dune. And she is played with charm and energy by Emily Blunt.

One of the main attractions for The Fall Guy is the range and extent of so many of the stunts, many going on for quite a while. The director of the film, David Leitch, was a stuntman and body doubled in the past, even in Sydney for The Matrix films. One can tell that he is very enthusiastic about all the stunts. And, he was one of the powers behind the original John Wick, so is not afraid of violent confrontations. And, there are quite a lot of those, always serious but is a lot of tongue-in-cheek humorous touches..

Television audiences will have seen Hannah Waddingham in the popular series, Ted Lasso. Here she is the big, upfront, producer, spurring people on, sometimes sweet-talking them, other times manipulating them, ruthless. And, as the action goes on, we discover that she is even more ruthless! And the hero of Metalstorm, is show pony, Tom Ryder, played by Aaron Taylor-Johnson, full of himself, prone to flattery, unscrupulous – and sporting a very broad Matthew McConnaughy kind of Texan accent.

And the romance pervades the whole film, stuntman and director pining for each other, split, gradually coming together (symbolised by the split screen sequence where with all their talk about the plot of the film and happy ending, they gradually walk towards each other!).

There will be many more American summer movies like The Fall Guy – but this is the one that we have this year. And a drawcard for American tourists to Sydney to see the sights where Ryan Gosling went into action!

1. A popular blockbuster? Action, stunts, intrigue, murder, romance? And a tribute to stunt experts and their performances?
2. Hollywood, the studios, the sets, Sydney, Harbour Bridge, Opera House, harbour, the use of locations?
3. The musical score, songs and lyrics, the theme for the stunts, the theme for Jody? Background to the action?
4. The opening, colt, personality, appearance, manner, getting ready for the stunt, relationship with Jody, her camera work, his voice-over explaining the situation? The harness, his fall, breaking his back? 18 months away, valet parking, the actor who recognised him? The message from Gail inviting him to come back, saying that Jody wanted him as she was directing Metal Storm? The sneer of the actor, Colt in the car swerving? Response to Gail, flying to Sydney?
5. Jody, with the camera, Gael encouraging her, her first feature film, onset, acting like the Dir, discussing the scenes, with the stunt experts, the graph assistant and his abusing people and her rebuke, the action sequences? Setting it up, suddenly seeing Colt, her not expecting him, her reaction?
6. Colt in Sydney, agreeing to the stunt, meeting up with Dan, their discussions, the car and the role, is seeing Jody, her reactions?
7. The romance theme, at the opening, the separation, her reaction, his reasons, the songs and the themes, the conversations about the screenplay echoing their romance, happy endings, the split screen sequence, coming together, the gradual mellowing, the work on the film, his stunts, her reliance on him? The karaoke, his not turning up, her song, upset, in the screenings, ignoring his phone calls? The shock of his being accused of murder?
8. Colt, the stunt work, at the front of the Opera house, the details of the stunt work? Stunts in action, the fights in the hotel room, Alma and the deal, the chase, the stunts, the Harbour Bridge, the streets and crashes? The issue of the phone?
9. Tom Ryder, self-satisfied, star, absent, Colt set to find him, Gail and her intervention, his going to the room, the body in the bath, camera capturing him, seeking the room, the drug connections after his going to the club, the thugs in the truck, his being captured?
10. The revelation of the truth, Tom Ryder, killing his new stunt double, his motivations, the revelation of his setting up Colt is the fall guy? His security henchman, vicious?
11. Colt tied up, dust with petrol, ready to be killed, his blowing the flame to the villain, the petrol in his mouth? The boat, guiding it facing backwards, getting loose, the pursuit about the harbour, the explosion, presumed dead, the media and the reports, the finding of his jacket, a sign for Jody?
12. The final plan against Tom after his return for the film, the setting up of a scene, the close-ups, trapping him, setting him up with the wire, the drive, his confession, the actual stunt and his reaction?
13. Gail, setting up Colt, giving him the plane ticket, her pretences, the meeting with Jody, the fight, unmasked?
14. The film a success, starring Jason Mamoa, the scenes, the reception?
15. The humour of the final credits, the repeat of so many of the sequences – and then the sudden scene of Alma taking stock of the situation and calling for Jason Mamoa’s agent?