Displaying items by tag: Florence Pugh

THUNDERBOLTS*

US, 2025, 126 minutes, Colour.

Florence Pugh, Sebastian Stan, Julia Louis-Dreyfus, Lewis Pullman, David Harbour, Wyatt Russell, Hannah John-Kamen. Olga Kurylenko, Geraldine Viswanathan, Wendell Pearce.

Directed by Jake Schreier.

A recent listing declares that there have been 36 Marvel Studios films over almost 20 years. Thunderbolts*is the latest and seems to have appealed at the box office.

The Marvel Studios superhero team has been The Avengers – their working together to save civilisation, a number of back stories and further developments. So, the question: who are the Thunderbolts? This is not an action story showing them working together. Rather, it is their origin story of their moving to work together. In fact, the characters have appeared in a variety of Marvel films, as well as in the S*H*I*E*L*D television series. Several of them have appeared in the Captain America films or in the Antman films.

So, who are they now and what is the mission? (And an indication to audiences who rush out during the credits, there is a longer than usual post-credits sequence indicating the future.)

First to be introduced is Yelena, a strong presence with Florence Pugh. She is an assassin, getting tired of her work, controlled by a political mastermind, Valentina. Julia Louis Dreyfus was Veep, but here she is even more powerful, facing the Senate enquiry, masterminding laboratories for developing weapons and reconditioning human beings. Clearly, Julia Louis Dreyfus is thoroughly enjoying this sinister and commanding role.

Then there is return of Bucky Barnes, Sebastian Stan, familiar from the Captain America films, here seen in a political context, confronting Valentina. Then we are reintroduced to Alexi Shostakov, David Harbour, prominent former Russian agent, now down on his luck driving taxis. There is Ghost (Hannah John-Kamen) who can appear and disappear through walls, from the Antman films. And, again from Captain America, a possible Captain, John Walker, Wyatt Russell, supremely self-assured.

Then there is Bob, a reconditioned human, Lewis Pullman. He is a mysterious presence, lacklustre one minute, energised the next, – and the character from Marvel comics, The Sentry.

The first part of the action shows each of these characters in action, but, with Valentina’s sinister plans, a great deal of conflict and fighting with each other. When they eventually do begin to understand each other, see how they are being controlled by Valentina, and the concern about Bob, they join to become an active force, building up to an action-packed confrontation.

In many ways, this group consists of a rather unprepossessing lot. Anti-heroes? Not many superpowers, rather relying on determination, intelligence, physical force, available weapons. And, by and large, they don’t radiate immediate charm! So, it will be interesting, as well as a challenge, to move into their next film, working together as a unit, assertive, and, with the*in the title, moving towards being new avengers.

The director, Jake Schreier, has, up till now, had a strong career in music videos and television series.

1. Marvel Studios, the Thunderbolts comics, this film as the New Avengers introduction rather than a thunderbolts adventure?
2. Marvel Studios and superheroes, action adventure, futuristic, the New York setting, destruction of New York, Washington, the variety of centres and experimentation, signs? Special effects? Musical score? Theme song?
3. The range of characters, the introduction to each, their interactions, Bob as the common bond, Valentina, politics, impeachment, hearings, her control, experiments, budget, setting the base for New Avengers films?
4. The introduction to Yelena, assassinations, controlled by Valentina, top of the building, falling, Parachute? Getting out from assassinations? The encounter with Alexi, the taxis, his squalid situation, his past career, the apartment, costumes? Relationship with you Lena, her dead sister?
5. Audience knowledge of Bucky Barnes, Winter Soldier, the past films, in politics, the interview, concern about Valentina? The socials?
6. John Walker, here character but yet,, his family, the possibility in the past of his being Capt America? His role in the team?
7. Ghost, her presence, personality, contribution, less a member of the team?
8. Bob, the comic character, simple, affable, his past, ambitions, the transformation, his becoming the Sentry/Floyd? Participation with the group, the influence of Valentina, is mixed experiences, dangerous, affable? The resolution?
9. Valentina, the influence of her assistant, advice, yet prepared to betray her? The political background, the Senate enquiries and interrogations, her influence, control, plans?
10. The building up of the new team, not so much with superpowers, the contrast with the Avengers, the final action sequences, CGI, stunt work, battles, the team winning, the role of Bob, the defeat of Valentina?

WE LIVE IN TIME

UK, 2024, 108 minutes, Colour.

Andrew Garfield, Florence Pugh, Grace Delaney, Lee Braithwaite, Adam James, Douglas Hodge, Niamh Cusack.

Directed by John Crowley.

We live in time, moment by moment, day by day, year by year, a linear progress. But, in time, we also have the capacity for moving backwards and forwards in our memories.

It is important to note this for this film because rather than the linear progress of a couple meeting, falling in love, having a child, coping with illness, the screenplay moves backwards and forwards, sometimes disconcerting, the audience having to be alert to appreciate at which period in time the action is taking place. Which means that the experience for the audience is not immersive as a linear exposition would offer, but, rather, a variety of responses as we move backwards and forwards in time for insights and comparisons.

And, with living in time meaning from birth to death, this film is very strong in an unusual and sometimes graphic (but happy) birth sequence as well as a contemplation of illness and death.

The film was directed by John Crowley (Brooklyn, The Goldfinch) and gives strong opportunities for performance by the two stars. Andrew Garfield is Tobias, working with Weetabix and its promotion, a strong presence but designed very much to be supportive of Florence Pugh as Almut who, in fact, knocks him down in her car, not the most propitious of meetings. In fact, this is very much Florence Pugh’s film, a strong screen presence as has been shown in a range of films, comedies, dramas and even Marvel Universe actioners, dominating the film, her personality, her moods, her skills as a chef, her pregnancy and the challenge of the birth, her love for her daughter, her having to face serious cancer.

With moving backwards and forwards in time, we do have the opportunity to appreciate Almut’s response to her illness in the light of her previous activities, approaches to life. And, while she is fully alive with her husband and child, her skills as a cook, a chef, are significant, propelling her, even as she is sick, to join in the UK tea, in a chef’s competition in Italy.

The film has a strong female sensibility (though written and directed by men), inviting an empathy with Almut, not always liking her, irritated sometimes with her, but also in admiration of how she deals with life and life challenging situations.

1. The title, the focus on time, but not in linear time for the narrative, moving about in time, and themes of time from birth to death?
2. The British film, locations, characters, issues? The London sequences, the home and interiors, the grounds? The Italian sequences, the travel, the chef competition? The musical score?
3. The effect of the narrative being non-linear, audiences jolted, identifying the time situation? The role of memory, memories and interpretation, understandings of the past? Preparing for the future?
4. The bond between Tobias and It? The initial encounter, Tobias and the divorce, upset, being hit by the car, in hospital, the initial encounter with Helmet? Explanations? Each personality? Tobias, the impact of the divorce? Helmet, her parents, the story, skating, family life? As a chef? Seeing her at work, the kitchen, the staff, creativity, with Jade?
5. The development of the relationship, Tobias, his work, manner, the meetings with helmet, wanting to depend, time passing, falling in love, the ring in proposal? The bonding together? Families? The issue of children, the disputes?
6. The backwards and forwards, the issue of helmets illness, the past, recovery, the recurrence, the effect on her, the consultations, the advice, medical treatment? Success? Failure? Her work, the decision to continue with the cooking, the effect on her, being sick, the issue of the hysterectomy?
7. The pregnancy, her working, the effect? Tobias and anxiety? Held up in the traffic, the service station, the attendance, the drama and comedy of the birth? Success?
8. The scenes of happy family, their daughter, the playful sequences, the outings? The effect on each of them?
9. The decision to carry on with the cooking, the background of her success at the restaurant, Simon and his urging, choosing Jade? The clash with Tobias, his challenges to her, her response, wanting something that her daughter could remember her by? Change of heart, the winning of the UK session, going to Italy, Tobias and the daughter supporting her?
10. The symbolic skating, her past championship, Tobias awkward?
11. Her death, Tobias and his daughter returning home, the dog, the chicken coop, memories of the past, how to crack eggs?

DUNE, PART 2

US, 2024, 166 minutes, Colour.

Timothee Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Lea Seydoux, Stellan Skarsgaard, Charlotte Rampling, Roger Yuan.

Directed by Denis Villeneuve.

Denis Villeneuve’s 2021 version of Dune made quite an impact. The Dune novels by Frank Herbert had been popular for decades. David Lynch had made a version in 1984 which was not favourably received (except by this reviewer!). So, in a sense, Villeneuve’s version was a vindication of the power of the novel, its characters, its imagination, its mythical vision of the future.

Now, here is Dune Part 2 – and, in its immediate release, it seems to have pleased almost everyone, quite a number of bloggers relying on the word “masterpiece”. Whether that be the case are not, the film is certainly visually impressive as was the original. And, this review is based on an IMAX screening, which is thoroughly recommended. The landscapes, the endless mounds of dunes, the craggy mountains, the canyons provide a vastly impressive setting. And, the musical score, the brass instruments and their resounding make the cinema seats reverberate.

And, with this kind of tale-telling, kingdoms, battles, futuristic weapons and armaments, vast buildings and interiors, including an enormous gladiator arena filmed in black and white, hundreds of thousands of spectators, there are what we might call state-of-the-art… Effects.

For those familiar with the novels and the films, there is no need to wonder about the House of Atreides, the fate of the ruler, his young son, Paul, his mother, Jessica, the conflict with the Emperor, the hostility towards the Harkonnens. Those not so familiar may have a lot of moments, especially in the battle sequences, as to who is who and why it is all happening at this moment.

As before, Timothee Chalamet is Paul, Rebecca Ferguson his mother, Zendaya is Chani.

In the first part of this this film, we focus on Paul and his mother, the bond with Chani from the previous episode, the hiding from enemies in the desert (who have enormous sky vehicles and have the power of levitation up the sides of mountains), then some combat with hostile locals. However, the local leader, Stilgar, Javier Bardem, welcomes the foreigners, and, with echoes of biblical/Islamic traditions, a reliance on prophecies and fulfilment, a hope for a Messiah.  Stilgar puts Paul to the test.

Then we go back to the spice industry, the villain, Beast Rabban, Dave Bautista, his ruthlessness, but also his defeat, his return to his master, Baron Harkonnen, Stellan Skarsgaard, who is grooming his nephew, Austin Butler, whom he describes as psychotic, who combats three remnants of the House of Atreides.

There is further drama concerning Paul’s mother, her later discovery of who her father was and what that means in terms of Atreides versus Harkonnens, and her becoming the new Reverend Mother.

New characters in this film include Christopher Walken as the Emperor and Florence Pugh as his Princess daughter, who has been trained by the sinister Reverend Mother, Charlotte Rampling.

Which means that it all has to come to a head, the power of the Emperor, his plans, Paul as the new saviour, Battle confrontation mano a mano between Paul and the psychotic nephew.

While there is some resolution, the way is now open for a climax in Dune Part 3

1. The long popularity of Frank Herbert books? 1984 version? The impact of Part 1?
2. The continuation of the story, life on the planet, Arrakis, the house of Atreides and its destruction, the Harkonnens, the Emperor and his family, the setting in the 10,000s?
3. The landscapes, the dunes in the desert, the mountains, canyons, the cities, the interiors, the vast buildings, the gladiatorial arena? The colour photography? Black-and-white photography for the Harkonnen world?
4. Action sequences, the range of special effects, in the desert, the worms and movement, the winds, the aerial machines, the Army sequences and battles, the hand to hand final combat?
5. The musical score, the instruments, the booming and reverberating sounds?
6. The situation, the destruction of the House of Atreides, Paul surviving with his mother, the previous bond with Chani, hiding and the attacks in the desert, aerial surveillance, the ability of the soldiers to ascend and climb the mountain sides?
7. Paul and his mother and Chani, brought to her people, the issue of the combat, the defeat of their warrior, the response of the crowds, the men, the sceptical women? The funeral?
8. Stilgar, his status in the community, the Biblical/Islamic traditions of written words and prophecy, the hope of a saviour? The men and their beliefs, their prayer? The women critical including Chani? Stilgar and his personality, leadership, influence on the others, belief in Paul? Fulfilment of prophecy? The range of tests, the crossing of the dunes, Chani and her advice and help, the big test, going out into the dunes, the soundings, the worms emerging, giant, Paul and his abilities, the hooks, and riding the worms? Acclaim?
9. The solemn place of the Reverend Mothers, Jessica, her bond with her son, chosen to be a Reverend Mother, the rituals, the old Mother and succession, the transfer of knowledge, the abstract colour visuals for these sequences? Her tattooed face? Her role with the women, knowledge and advice? Her wanting to go south, to return home, with Paul? His refusal? Seeing her off with the entourage?
10. The episode with Beast Rabban, the initial caption about the power and the power with the spice? The spice industry, cause of conflict? The farming of the spice, collecting it, financial issues? The Beast and his autocratic behaviour, slitting the throats of his advisers? Falling foul of the Emperor, the aerial sequences, his defeat, having to kiss the feet of Fayd-Rautha?
11. The tradition of the Harkonnens, the Baron, in the bath, his size, bloated? His relationship with the Emperor? Helping the Emperor to defeat the House of Atreides? His plans for his nephew? The description of the nephew as psychotic? Everybody with shaved heads? Preparations for the gladiatorial combat, the black-and-white photography, the visuals of the arena, the special effects for hundreds of thousands of spectators, the three final warriors from the House of Atriedes, the confrontation with Fayd-Rautha, the fights, his arrogance, the blood, the knives, the final foe giving him a fight? Arrogant Victor?
12. The return of Gurney, the story in the past, smuggling? The friendship with Paul, their bonding? Chani and her suspicions? Gurney and his participation in the insurrection, present at the end?
13. The scenes with the Emperor, his rule, under threat, his assertion? The scenes with his daughter, his hopes for her? The Reverend Mother, her manner, influence in the past, training the daughter, ambitious, controlling, her strategies, her ruthlessness?
14. The buildup to the confrontation with the forces of the Emperor, Paul, the Fundamentalists from the south, the attack, the air vehicles and their destruction, on the ground, the firepower, the skills of the fighters and their disguise, rising from the sands? The visuals of the vast confrontations?
15. The victory, the confrontation with the Emperor, Paul and his assertions, the killing of the Baron, revenge? The Emperor, defiant? Fayd-Rautha as his champion? Paul and his conditions, speaking of marrying the Emperor’s daughter, peace, Chani and her reaction?
16. The Mano a Mano fight, strategies, techniques? Paul being wounded? Turning the tables on his opponent, his death? The Emperor, having to kneel before Paul?
17. Stilgar, everybody rejoicing, Paul as the saviour? His mother and her response? The defeat of the Reverend Mother and the Emperor’s entourage?
18. The ending, the openness to the reassertion of Paul Atreides and his leadership?