Displaying items by tag: Giancarlo Espositio

CAPTAIN AMERICA: BRAVE NEW WORLD

US, 2025, 118 minutes, Colour.

Anthony Mackie, Harrison Ford, Danny Ramirez, Shira Haas, Carl Lumbley, Tim Blake Nelson, Giancarlo Esposito, Xosha Roquemore.

Directed by Julius Onah.

Chris Evans was the original Captain America, Steve Rogers, appearing in Captain America, The First Avenger in 2011, giving his back story. He then appeared in America, Winter Soldier and Civil War and a number of Avengers and Spiderman films. Anthony Mackie appeared as his associate, The Falcon, and now has the mantle of Captain America. (And Mackie appeared in the series, The Falcon  and the Winter Soldier.)

The world has been experiencing some disasters but, suddenly, an island has appeared in the Indian Ocean, a source of a new element which will help rebuild the world. Needless to say, desired by political leaders, desired by criminal powerbrokers. And an initial episode to get us into the frame of mind with Sam Wilson, now Captain America, with his apprentice, The Falcon, a brash young enthusiast played by Danny Ramirez, fly to Mexico to confront a villain, Sideliner, Giancarlo Esposito, and a buyer for the new element. When are in the picture, Capt America and The Falcon in their distinctive costume, their wings and flying, and the importance of the or defending, all attacking, shield.

Enter from the wings, newly elected American Pres, Theodore Ross, played by Harrison Ford now in his 80s and entering into the spirit of the Marvel Universe with some enthusiasm. He has had a bad reputation in the past, alienated from his daughter, but now insists that he is change. He is negotiating an international treaty, especially with the Japanese Prime Minister, the safe use of the new element.

Then some mayhem, an attempt on his life at the White House, shooters, including a close friend of Sam Wilson now released from jail are taken back. And the revelation of the villainous mastermind, Samuel Sterns, appearing as something of a mutant, played with sinister relish by Tim Blake Nelson. In fact, in prison, he has been experimenting with all kinds of drugs, feeding them to the President, working on mind control for assassins, ambitious to be in power of the element.

In a way, so far more a less expected – and this has disappointed some of the Marvel fans. However, there is a huge set piece towards the end, the Pres himself victim of his medication, transforming into a large Redcap Hulk, wrecking all kinds of destruction including demolishing of half the White House. (And, since the film was released after the re-election of Donald Trump, there is the temptation to look at all the mayhem scenes are some kind of allegory, the Pres morphing into a red raging monster-figure, attacking everyone, demolishing everything, even the destruction of the White House!).

The quiet finale, peace and some prosperity restored, millions in prison. However, marvel fans should not race for the exit during the credits because there is a substantial sequence right at the end. The future?

1. The Marvel Universe, Steve Rogers as Captain America, Anthony Mackie as the Falcon, participation in The Avengers movies? The television series featuring The Falcon? Sam Wilson as Captain America?
2. The interconnections in the Marvel Universe, the connection with The Hulk?
3. The role of Captain America, as initiated by Steve Rogers? The distinctive uniform, the wings and flying, the significance of the shield? The Falcon as apprentice, costume and shield, wings, learning?
4. The global situation for the film, post-apocalyptic situations, the United States, hostilities, the emergence of the island in the Indian Ocean, new element, powers wanting possession of it? The working for a treaty for participation in its use?
5. The establishing of Anthony Mackie as Captain America, presence, personality, African-American hero? Seeing him in action, flight, the operation in Mexico? Hostility towards President Ross? Being summoned, the discussions with the president, his change of situation, working towards the agreement and a treaty? His previous antagonism towards the president?
6. The operation in Mexico, Sidewinder and his presence, the buyer, absence, the conflict? The character of Sidewinder and his presence, deals? The return from Mexico?
7. The character of the president, the election, in the wings, the discussions, his address to the people, the acclaim, Together? The first hundred days, the discussions with the Japanese Prime Minister? The discussions with Sam Wilson, his assistant and her presence, Ruth and her security? Sam Wilson investigating her? Joaqui Torres and his computer skills and investigations?
8. The character of Isaiah Bradley, his past, imprisonment, skills, meeting The Falcon, the brashness of the young man, Bradley and his strength? His antagonism towards the president? Sam Wilson and rehabilitating him, the invitation to the White House, dressing up, the security, the ceremony, the president, the shooters, Bradley and his role, overcome, imprisoned?
9. The consequences, Sam Wilson and investigations, the prison, the laboratory, the information, the profiles, the medication, the character of Samuel Sterns?
10. Sterns, his appearance, mutations, imprisonment, his experiments, the president and his dependence on him for medication, his control of the president, his power, wanting the element? His experiments, mind control?
11. The president, the visit to Japan, the Japanese Prime Minister wary? The failure of the mission?
12. The return to Washington, the press conference, everybody gathered, the replaying of the tape, the president and his deal with Sterns? Sterns and his control, the transformation of the president into The Red Hulk? The mayhem into action? The confrontations?
13. The return of the president to himself, imprisonment, his accepting responsibility, the visit of Sam? His alienation from his daughter, her visit?
14. Sidewinder and his defeat? Captain America and his future, The Falcon?
15. The significance of the post-credits sequence, Sterns in prison, the challenge to Captain America, the future?

ABIGAIL

US, 2024, 109 minutes, Colour.

Melissa Barrera, Dan Stevens, Alisha Weir, William Catlett, Kathryn Newton, Kevin Durand, Angus Cloud, Giancarlo Esposito, Matthew Goode.

Directed by Matt Bettinelli-Olpin, Tyler Gillette.

Abigail was a successful horror-thriller of 2024 directed by the duo who were responsible for Ready or Not, the remake of Scream and Scream VI. It has a strong cast of character actors – invited to act and overreact!

The film begins with the young Abigail, Irish actor Alisha Weir, a ballet dancer, Swan Lake. And she is observed by a number of people at the theatre and in waiting vehicles. What follows is a kidnapping. They are  not known to each other, not knowing anything about the girl or her family, are trapped in a house for 24 hours by the intermediary, Giancarlo Esposito.

There is a lot of complaint on the IMDb that the trailers gave away the major twist of the film. It is certainly better for the audience not to know anything about the film before they start to watch it.

So, very strong spoiler alert.

The switch in the screenplay is that it becomes a vampire film, the little girl an age-old vampire, her father a master criminal. When the revelation is made, the main part of the plot is her attacking the various members of the kidnapping group. They have codenames, the central character, Joey (Melissa Barrera) has a skill of explaining some of the background of each of them so the audience knows their personalities, skills, dark secrets.

There are very few holds barred in the presentation of the vampire attacks, especially the bloodsucking and the destruction scenes, massive blood explosions as each character passes into eternity. There are various betrayals, revelation of secrets, the role of the young girl, the final appearance of her father (a surprise in Matthew Goode).

Dan Stevens is the leader of the group, it is a pity that the most sympathetic of the group played by Will Catlett is killed early. Angus Cloud is the young sociopath. Kevin Durand is the heavy. The other female participant is the tech expert, played by Kathryn Newton.

A lot of the action and performance is very much tongue in cheek, touches of comedy and parody, and a huge overload of coarse wearing language.

For the fans of horror films with twists.

MEGALOPOLIS

US, 2024, 138 minutes, Colour.

Adam Driver, Giancarlo Esposito, Natalie Emmanuel, Aubrey Plaza, Shire LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Jason Schwartzman, Kathryn Hunter, Dustin Hoffman.

Directed by Francis Ford Coppola.

Those who are old, who have lived a full life, deserve the opportunity to reflect on the past and what it has meant, to ponder the present and raise issues, to hope for the future. And this is what Francis Ford Coppola, memories of The Godfather and Apocalypse Now, has ventured, and the-the-top extravaganza into science fiction, futuristic fantasy, a megalopolis. It was released as Coppola turned 85. And, this review is written from the perspective of someone who is four months and one day younger than Coppola.

The setting is New Rome, a New York of the future, focus on the glitter of the Chrysler Building, other landmarks, but Coppola wants to highlight the decline of American society by likening it to the collapse, before the ultimate fall, of the Roman Empire. And the characters have evocative Roman names, Caesar, Cicero, Julia, Crassus, Clodio…

Coppola has gone for the spectacular, lavish sets, skyscrapers to a neo-coliseum with Ben Hur chariot rides and gladiator wrestling, but in the context of technological and communications developments. There is a powerful inventor of a new creative substance with multi-use, played by Adam Driver, a blend of the idealistic and the self-indulgent. He is the Caesar. There is t Mayor, Giancarlo Esposito, clinging to power. He is the Cicero. There is the ageing banker, Jon Voight, poised for a fall, manipulated by his crazy-ambitious grandson Shia LaBoeuf, and his manipulative wife, Aubrey Plaza. Voight is the Crassus. But, acknowledging the mundane glamour of media, Aubrey Plaza is Wow Platinum.

Dustin Hoffman plays a political manipulator and there are Coppola regulars from the past, Laurence Fishburne, Talia Shire (his sister) and Jason Schwartzman) his nephew).

This review will enlist the assistance of ideas from psychologist, Carl Jung. It suggests four different perspectives on how Megalopolis might read be viewed and reviewed – and may contribute to an understanding of why Coppola is intended epic has been a box office failure with barbs from critics.

If one looks at the film, really looks, sees the images, hears the music and sounds, is immersed in the sense atmosphere, there is much to dazzle, excite and admire. If one prefers to look beyond this sense excitement, to be excited by ideas, imagination, themes, the New York-N or ew Rome connections, then the film is a feast of intuitions.

There is the more subjective response, personal factors and connections, appreciations of Coppola and his work, the intrigue of the potential collapse of the American Empire, evaluation of the characters and performances, liked or disliked. And, on the other hand, there is a more objective judgement, the perspectives of critics, the question of whether Coppola’s vision is substantial or ephemeral somewhere in between. The issue of whether his insights have depth insight, the consistency of the screenplay, Coppola’s interpretation of the past, his assessment of the present, and the quality of his optimism for the future.

Megalopolis has not been popular with the wide audience, but it surely has its place in the history of cinema.

1. Status of the film? In the career of Francis Ford Coppola? Ambitious, an old man, in his early 80s, filmmaking, screenplay, reflections on message?
2. The visuals of the film, a future New York, New Rome, Chrysler building and reminders of New York City? Parallels with ancient Rome especially the Coliseum, wrestling and chariot races? The special effects, the stopping of time? The editing and pace?
3. The cast, mixture of the young and the veterans, the status they bring to their rules?
4. The use of names, the application of Caesar, Cicero, Crassus, Julia…?
5. The introduction to Caesar Catalina, setting the tone of the film, on the Chrysler building, on the edge, stopping time? His invention, the material and its use? As a person, the death of his wife, the blame, Cicero and the prosecution? His work, ambitions? His lifestyle, the drugs? The encounter with Wow Platinum and the affair? Her role in the media? The antagonism towards Cicero? Crassus and the banking? Clodio and his antagonism? The encounters with Julia, the connections with her father, her attitude, assisting him, managing, the relationship, the pregnancy, her decisions with her father, the baby and her bonding with Caesar? The experience of the banking failure, the consequences? The physical attack, his injuries, hospital, his recovery? His relationship with his mother, her outbursts, seeing her in the crowd at the end?
6. Julia, the initial introduction, the nightclub, her friends, the wildlife, drinking, drugs, sexuality, of relationships? Her relationship with her father? Her changing, the encounters with Caesar, on his side, managing him at events, PR, the relationship, the increasing complications, the pregnancy, the birth of the child? The culmination with her father, her mother, her final choices? The stopping of time?
7. Crassus, the banker, profligate life, drinking, the family, meeting with Wow Platinum, the marriage, her manipulation, the media and interviews, her brashness, with Caesar, opportunist, the marriage, with Clodio, teaming with him, the plan, the management of the bank, to bring down Crassus? His age, careless life, realisation of what was happening, feigning his illness, turning the tables on Clodio and Wow?
8. Cicero, the mayor, his wife, Julia as his daughter, his practice of the law, antagonism towards Caesar? His role in the city, his ambitions, the crises, the conflicts? Relationship with his daughter, the clashes, disappointments? The challenges and his various responses? Mediation, concessions? His reliance on his friend, and sharing the downfall?
9. Clodio, young, his friends, careless, dressing as the Roman woman, partying, yet ambitious, his friend and manipulation, resorting to violence, with Well, the connections, interviews with Crassus, bringing him down, his defeat?
10. Dustin Hoffman as the dealmaker, sinister, his remarks, insinuating, Cicero relying on him – Claudio and turning against him, his death?
11. The chauffeur, his being the narrator, his views on characters and situations, a measure of judgement?
12. The people of New Rome, the populace, the responses to the leaders, victims of the leaders?
13. The film as reflections of an old man, critique of the past, ambivalence towards the present, possible hopes for the future?

MAXXXINE

US, 2024, 104 minutes, Colour.

Mia Goth, Elizabeth Debicki, Bobby Cannavale, Michelle Monaghan, Kevin Bacon, Lily Collins, Simon Prast, Giancarlo Esposito, Moses Sumney.

Directed by Ti West.

In recent years, writer-director Ti West, has directed many television episodes. However, he made his mark around 2010 with some horror films, especially The Innkeepers. He also made a revenge Western, In a Valley of Violence, 2016, with Ethan Hawke and John Travolta. Then he made X, something of an exploitation film at a mansion out in the countryside of the Midwest. It featured Mia Goth. And it was a commercial success.

West then decided to go back in history and make a period piece, again about an ambitious actress, again played by Mia Goth, Pool. And with the same somewhat sensationalist themes and treatment.

This is the third film in his trilogy, this time set in 1985. And the audience is taken to a version of Hollywood of that period, a style of cinematography that is garish and sometimes lurid, as a symbol and as a location for part of the climax. West is enthusiastic about this portrayal of Hollywood, emphasising the seedy side, cheap apartments, video stores which were becoming popular at the time, the adult movie industry, sleazy agents in their offices. There is also the world of filmmaking, auditions, the movie lots, a visit to the Psycho motel as well as action there, sinister mansions in the Hollywood Hills. Very strong on atmosphere – and with many of the songs of the period, as was all kinds of in the occasions, billboards, almonds theatre, the stars on the walk of fame, cinemas showing St Elmo’s Fire.

Once again, this is a showcase for Mia Goth who seems to relish her performances as actresses who have more than relish and ambitions for their careers. And the supporting cast is more notable, Elizabeth Debicki as a somewhat pretentious and ambitious director, filming a sequel to The Puritan with all kinds of religious right protesters outside the studio with their placards. Kevin Bacon offers something of an absurd private eye who gets a dreadful comeuppance. Bobby Cannavale and Michelle Monaghan are the investigating police, he a would-be actor, she rather stern and critical. Lily Collins has a cameo as a British actress, Giancarlo Esposito is the agent, and Simon Prast who was a religious fanatic in X is even more terrifying here as Maxine’s avenging father.

So, a mixture of exploitative ingredients, sex, violence, ambition, religious intolerance.

1. The work of the director, his trilogy, themes, moviemaking, collaboration with Mia Goth?
2. The relationship of this film to the other two? Characters, themes, movies, sexuality and exploitation, violence and murder, ambitions and ruthlessness, religious fanaticism?
3. The title, Maxine, from Miller to Minx, adding the Xs to her name? Her car number plate? And the way that she ruthlessly drove her car?
4. The prologue, the little girl, dancing, the interview with her religious father? All of this sequence in the revelations of what was happening?
5. 1985, Hollywood, the sign and symbol, the streets, the stars and Grauman’s theatre, garish look, lurid touches? The streets, the motels, the studios, legal offices, Universal lot, the motel from Psycho, exteriors and interiors? The musical score, the range of songs from the 1980s?
6. Maxine, in Los Angeles, the move from Texas, ambitions, to get the life that she deserved, her intensity, the adult movies, pornography, her reputation and people recognising her at the studio? Her friends, performance? The apartment, moving from job to job, the video store, the owner, conversations, watching videos with him, enlisting his help to identify the mysterious video and its origins? His relationship with Maxine, exasperation with her? The brutality of his murder and her response to his being carried out?
7. The audition, the film, The Puritan, the sequel? The director, imperious presence, height, not American accent, expectations? The interview, her being in adult movies, her body? Her getting the part? Going back to the studio, the interviews with the director, her demands? The scene of making the cast of her head, the past memories, her panic? And the later final sequence with the cast of her head in the glass? The background of the, Night Stalker the many deaths, and her friend, their discussions, the discovery of the two dead bodies, the symbolic mark?
8. Mysterious video and her watching it, her panic? The address of the windscreen? The encounter with John, Kevin Bacon and the satiric performance? Confrontations, pursuit, his threats and self-confidence? Not identifying the employer? The drinks and conversation? Is appearance at the studio, the pursuit and chase, the weapon and her wound in his nose? The later encounters, the Psycho motel? Her explaining this to her agent, Ted and his personality, manner, sleazy? The confrontation with John, and the brutal crushing of the car and him?
9. The police officers, the would-be actor and his performances, the tough woman in charge? Confronting Maxine, with the death of her video store friend, the continued interrogations, her refusal to answer, the threats?
10. Demonstrations, against The Puritan, the religious right? Protests and placards?
11. The buildup to the climax, Maxine and her fears, the decision to go to the address, the detectives deciding to follow her, her entering the house, eerie, discovering her father, his speeches, showing her the video from her childhood, the massacres in Texas, fleeing? Her father, religious fanatic, his campaign, stamping Satan out of Hollywood, his followers and the ritual, the attempt to exorcise Maxine, tying her up, close-ups of his face, the arrival of the police, the shootout? Maxine free, confronting her father, eventually shooting him? The detectives, shot, wounded, dead? The hovering helicopter?
12. The aftermath,, Maxine as a celebrity, the interviews, the director and her advice? Set, her becoming respectable, the plaster cast of her head?