Displaying items by tag: Christopher Abbott

WOLF MAN

US, 2025, 103 minutes, Colour.

Christopher Abbott, Julia Garner, Sam Jaeger, Matilda Firth, Benedict Hardie, Zac Chandler.

Directed by Leigh Whannell.

A few years ago, Australian writer-director, Leigh Whannell, who has had a successful career with horror films, the Saw franchise, of the Insidious franchise, directed the remake of The Invisible Man, which was very successful with both critics and box office. He has now followed up with Wolf Man. But, it is not so much in the tradition of the previous Wolf Man horror films but rather a new development, a 21^st-century perspective with reference to Native American traditions.

There is quite a contrast between the impact of The Invisible Man and Wolf Man, the visibility and invisibility. A filmmaker can work more subtle variations on horror and terror when the terrorising character is invisible, able to appear or disappear, those terrified not knowing where the invisible man is, present or absent, suddenly menacing. With the Wolf Man, everything is visible. This is very much the case here.

The setting is Oregon, forested mountains and valleys, a recluse taking his young son out hunting, trying to prepare him for the sense of menace and the tradition of a strange creature, somehow or other infected, wolflike manifestations, and, according to the Native American traditions named here, “the face of the Wolf”.

The action, in fact, takes place 30 years later. The young boy, Blake (Christopher Abbott) is npw a writer in New York, married with a young daughter, Ginger (McK enna Roberts) full-time parent, his nervy wife Charlotte (Julia Garner) a journalist. When news comes about the will of his dead father, he suggests they all go to Oregon which will bond them as a family.

As we guess, big mistake!

Most of the film takes place overnight, the family arriving with a huge van for removals lost in the forest, encountering a friend from the past, but suddenly confronted by the mysterious presence. The truck crashes, Blake is scratched and bleeding, Charlotte and Ginger terrified.

So, we see the gradual transformation of Blake into a monstrous version of himself, his daughter terrified, Charlotte able to assert some kind of authority to help.

This is a film of horror with the transformation, gradual and ugly, into the Wolf Man. It is also a film of terror for Charlotte and Ginger. And for audiences who appreciate and respond to this kind of horror and who have an enjoyment of menace and terror, this is what Wolf Man sets out to offer.

1. The popularity of Wolf Man stories? Classic films? 21^st-century interpretation?
2. The beauty of the Oracle mountains and forests, the father and son, their home, the equipment and communication, hunting, the rifles? The stern father, the boy and his attention, fears, going to ship the deer, his father’s reaction, and up on the lookout, his father’s explanations? At home, the effect of the father on the boy? The personality of the Father, war, communications? Then the story of his disappearance?
3. 30 years later, New York City, Blake, writer, looking out his daughter, Charlotte, at work, her moods, difficulties at home, phone calls? Blake and his daughter, protecting her, her reading his mind, the meals?
4. The news of his father’s will, the suggestion to go to Oregon, the fan, travelling through the forest, the desd end gate, Derek on the lookout, the fears, his friendliness, back story, guiding them to the house? The apparition of the road, swerving, the crash, Derek falling out, being taken away by the creature? The creature, the struggle, Blake being scratched, mother and daughter on the roof of the van, walking through the woods, finding the house, getting the lights going, the threats, locking the door?
5. Blake and his transformation, the arm, the blood, Charlotte ending the wound, his later tearing it off, chewing on his arm, the impact on Charlotte, the impact on Ginger? Her age, dependence on her father, not so close to her mother, her mother having to protect her, her being bewildered by the transformation of her father?
6. Blake and the further degeneration, his face, the touch of the Wolf, facial hair, the blood, his trying to protect them, Charlotte and her getting the engine going, trying to escape in the car, Blake leading of the creature?
7. The revelation that the creature was Blake’s father, the confrontation between the two, the fight, the destruction of the creature? Blake and his death?
8. A grim ending, the action taking place overnight, the pessimism of this variation of the Wolf Man story?

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?

SANCTUARY

US, 2022, 95 minutes, Colour.

Margaret Crowley, Christopher Abbott.

Directed by Zach Ziglom.

This is a psychodrama. It could also serve as a dramatic illustration of a psychosexual situation. It is a two-hander and practically all of the action takes place in a hotel room – some moments outside the room in the corridor and an opening elevator. The invitation for the audience is to observe, possibly identify with one or other of the characters, reflect on the interactions, the interdependency, the future of the characters.

The film opens with the young business executive, Hal played by Christopher Abbott, with a business-looking blonde young woman, Rebecca, entering and going through the details of a legal contract with him. But, Hal begins to object to the questions – and it emerges that he wrote the whole scenario and dialogue himself. The two are in a role-play, created by Hal, performed, ever more independently, by Rebecca.

What we are shown is a dominatrix situation, Rebecca employed by Hal who feels he has been belittled, underestimated by his successful father (seen in a photograph with his son). The issue is Hal’s inadequacy as a person, and the connection of this inadequacy with his sexuality. Interestingly, in terms of understanding himself, it is Hal who writes the various scenarios, seeming to have some insight into himself but then very dependent on Rebecca’s responses. She humiliates him, his having to clean the floor, self-deprecation, sexual experiences.

As the film progresses, Rebecca seems to assert more independence from Hal and the scenarios, walking out, tantalising him that there was video of all their activities and his consequent smashing of the room to find the camera. Rebecca attempts to leave, Hal bringing her back. And Rebecca assert herself once more, discussing the contract, wanting Hal to invest his salary in her, and the suggestion arising that instead of Hal, Rebecca could be the CEO with Hal remaining at home in support.

Since this is a psychodrama, all options are open however practical, pragmatic or non-pragmatic they might be in reality. And the final question, the final image, what is the real relationship between Hal and Rebecca.

Which means that this psychosexual exploration may have limited interest and appeal, especially because of the claustrophobic confinement.

1. A psychodrama? Psychosexual issues? Domination? The screenplay film as a case study?
2. Audience response to this kind of psychodrama, observing, identifying, questioning, reflecting?
3. The claustrophobic effect of the drama, in the one hotel suite, main room, bathroom? Going out to the corridor, the open elevator? The musical score?
4. The introduction to Hal, his age, appearance, the photo with his father, his father the entrepreneur? The arrival of Rebecca, her appearance, blonde wig, stern, her papers, contracts? Initial audience response to each of them? Changing throughout the film?
5. The reality of the situation, Rebecca and the lines, going through the scenario, Hal and his reactions, the fact that he had written the scenarios? The previous relationship, the contract, her role as a dominatrix, his role as the client, his having some kind of control through writing the scenes?
6. The drama of the interactions, Rebecca and her control, the lines, criticism from Hal, her improvising, the discussions? The humiliation, stripping, cleaning the floor? The sexual encounter and her tantalising him, controlling him? The video, his searching for a, smashing the room, electrocution, the sexual effect? Sanctuary as the safe word"
   
7. Hal, his relationship with his father, his father’s treatment of him, humiliating him, his mother, preparing to go to the function with her?
8. Rebecca, the interactions, the control, her leaving, Hal coming to the elevated to get her back, twice?
9. The development of the scenario, Hal and his suggestions, Rebecca in control? The issue of her payment, the money, the discussion of his salary, giving it to her, the possibility of selling his shares in buying back the company, Rebecca and her place in the company, becoming the CEO, his becoming the equivalent of the wife at home?
10. The revelation of Rebecca’s strengths, of Hal’s weaknesses, the finale and the relationship between them, the kissing, the future?