Displaying items by tag: Jack O;Connell

SINNERS

US, 2025, 137 minutes, Colour.

Michael B. Jordan, Miles Caton, Jack O'Connell, Helena Hua, Yao, Sam Malone, Delroy Lindo, Jayme Lawson, Hailee Steinfeld, Wunmi Mosaku, Omar Benson Miller, Buddy Guy.

Directed by Ryan Coogler.

To judge the sinners, it is important to know what the sins are. And, in this very striking and surprising drama by Ryan Coogler, there is quite a range of sinners.

Once upon a time, 2013, first time feature film director, Coogler, made a small budget film with Michael B. Jordan, Fruitvale Station. It focused on the police shooting of a young black man, highlighting racist issues, which received quite some critical acclaim. Coogler has collaborated with Jordan on the two spin-offs from Rocky, Creed, as well as two blockbusters in the Marvel Universe, Black Panther. Now he collaborates once again, big budget, long running time, with Jordan – twice.

Twice in the sense that Jordan here plays twins, two young men from a Mississippi town who went off to World War I, returned to prohibition Chicago, heavily involved in criminal activity, Sinners, to say the least. But, it is 1932, they return to their home town, buy an old mill from a racist owner, want to set up a jazz juke joint, especially for the African-American population of the town. And, this is what the first part of this film focuses on, the brothers, making all their contacts, hiring musicians, contracting friends to work, and the personal dramas from their past, past relationships.

While Jordan plays identical twins, the screenplay is something of a twins’ screenplay itself, to interrelated stories, but not identical twins. The second part of Sinners involves quite a different range of sins and sinners.

The film opens with the religious dimension, a talented young musician, Sam (a striking performance by Miles Caton) comes into his father’s church, the father is suspicious of the devil’s music, trying to reconcile with his son. And then the screenplay goes back 24 hours to the first part already described. With all the publicity, but a surprise to those who saw the film without warning, most audiences will now know that this is a vampire film, an Irish vampire (Jack O’Connell), roaming the West, pursued by Native Americans, but controlling and transforming the victims.

Then they converge on the mill, a siege, singing and dancing to Irish music, the contrast with the jazz at the mill, some eerie confrontations and conflicts, and an all-out battle with the vampires. And then back to the opening sequence of Sam at the church.

This is an original story, screenplay, full of the unexpected, but drawing on all kinds of movie traditions, jazz musicals, the vampire stories. Quite overwhelming in its way.

There is quite an important development set in the 1990s during the final credits which early exiters will regret that they have missed. And, further alert, right at the end of the credits there is a song sung by Sammy, calming and helping the audience to leave the cinema and reflect on what they have seen and felt.

1. Sinners? The range of sins? The range of sinners? Victims of sinners, exploitation, vengeance, forgiveness…?
2. The work of Ryan Coogler, his writing skills, his directing skills, African-American issues?
3. The theme of twins, identical twins? The film’s twin themes of music and song, but not identical twins?
4. The opening, traditions of music, supernatural elements, African, American cultures? Tone of the prologue, Sam, his injuries, guitar, entering the church, his father’s reaction, the choir, the congregation, his father’s warning, embrace, music and the influence of Satan, his father’s exhortation?
5. The transition to 1932, Mississippi, the cotton fields, the town, African Americans, the slave heritage? The flashback for the one day, the action taking place over 25 hours? The audience immersion in the life of the Mississippi town?
6. The twins, Michael B.Jordan’s performance as each, similar, contrast? The arrival back in town, the varying reactions of people, memories, their involvement in the war and this experience, later with Smoke and the weapons? The Chicago background, Al Capone, gangsters, taking the money, taking the Irish beer, the car, their ambitions, going to the mill, the encounter with the boss, his smile and dismissal of the Klan, paying the money? And the irony of later seeing the man, his white henchman, the racism, the attack, Smoke bringing out the weapons, the confrontation with the leader, asking for a smoke, shooting him? Sinners and judgement?
7. The plan, the truck with the goods, meeting with Sam, Sam as a character, his age, skill with music, playing the guitar, singing, Stoke and’s admiration? In the town, meeting with Delta Slim, their playing together, the crowds? His gaze on Pearline, the conversation with her, married, invitation to the evening?
8. Stack, his personality, relationship with Smoke, mutual protection, working together, the promotion of the venue? The encounter with Mary, the discussion, the relationship in the past, her passing for white, his awkwardness, the death of her mother, the burial?
9. Smoke, going to the cotton fields, the encounter with Cornbread, his work, his pregnant wife, the money, going along with the group, pleased, being the bouncer?
10. Smoke, visit to Anna, her personality, echoes of voodoo and beliefs, sexual relationship, the later memories by Smoke of the baby? Her agreeing to help?
11. The Chinese, the store, the young Jessica, watching, her father and enthusiasm, his wife and her strong mindedness, the helping with the cooking?
12. The crowds gathering, the music, the plan, Sam, Delta Slim and his enthusiasm, piano, mouth organ, Pearline and her performance? Zest, enthusiasm of the crowd?
13. The introduction of the vampire theme, Remmic, his arrival, his fears, the couple and their reaction, letting him in, the arrival of the Indians, the warning about him and the violence? Vampire, their being transformed? The going to the dance, not allowed in, the plausible story, the Irish and white tradition, wanting to be part of the African-American experience? The confrontation at the door? The singing, then moving away?
14. The vampire experience, Mary going out, the confrontation, possessed, going back, the sexual encounter with Stack, her attack on him? His response, Smoke’s response?
15. The atmosphere of fear, the crowds, trying to escape, Cornbread and his going out in the field, confrontation, transformed, his return? The plausibility of those possessed, their talk, and their knowledge of everybody else’s life? Stack, his joining the group, coming back, trying to be persuasive, with Mary?
16. The small group inside, the garlic, Chinese couple, the man going to get the car, transformed? The threat to their daughter?
17. The plausibility of Remmic, his talk, songs, the couple and their backing him up?
18. The attack, the fights, the stakes, destroying the vampires? Anna and her self-sacrifice? Delta Slim and his sacrifice?
19. The sun coming up, Remmic and the others caught in the sunlight? Sam, the guitar, being urged to go back home?
20. Smoke, getting the guns, lying in wait, the attack of the racists, the confrontation, shooting? His own wounds? Memories of Anna and the baby?
21. Sam, his return to the church, the repeat of the opening, his decision, leaving, the religious perspective, the race perspective, the issue of freedom?
22. The surprise interlude during the credits, 1992, Chicago, Sam as an old man, the visit from Mary and Stack, looking and sounding like the 1990s, the discussion with him, his singing, their offering to transform to live for eternity? His turning them down?
23. In the post-credits sequence, Sam and his singing, the young Sam, his experiences on that day, but his life before him, the audience finishing this film with song and music?

BACK TO BLACK

UK, 2024, 122 minutes, Colour.

Marisa Abella, Jack O'Connell, Eddie Marsan, Lesley Manville, Juliet Cowan, Sam Buchanan.

Directed by Sam Taylor-Johnson.

Back to Black is the title of one of Amy Winehouse’s best-known songs.

There is a television series titled Too Young to Die. Certainly a title for a film portrait of singer, Amy Winehouse, dying in 2011 at the age of 27, it already a five-time Grammy winner, awards in the UK, popularity in the United States.

For audiences who are familiar with Amy Winehouse and her career, this is a two-hour overview portrait of her life and and musical success. Fans of the film are enthusiastic. Critics less so, delving into the film and its screenplay and criticisms of simplification – which is always the case in two-hour film which does not intend to give a full life story. For those fans, there is a documentary by celebrated director, Asif Kapadia, Amy, 2015, which also runs for over two hours.

One of the difficulties in a film about Amy Winehouse is that, while she had enormous popularity with her career songs, many people did not respond well to her as a person, as a personality. Again, for those who are fans, there is plenty to see and reflect on in this film. For those who do not respond well to her, the screenplay by Matt Greenhalgh, who had been tuned into British music history with his portrait of Ian Curtis of Joy Division, Control, 2007, biography of the young John Lennon, Nowhere Boy (2009), the portrait of the London entrepreneur, Paul Raymond, The Look of Love, 2013, works well. Within the first 10 minutes of the film, there is a sequence of the older Amy rushing headlong down the street, then situating Amy and her family, the Jewish background, her ability to sing, relationship with her fatherNan, Eddie Marsan, who is separated from her mother, and her loving man, Lesley Manville.

While there are many of the songs, and star Marisa Abella, who offers what is often called a powerhouse performance, singing herself, there is also a musical score by Nick Cave and Warren Ellis.

The film shows the ability of Amy Winehouse and her powerful voice, her love of jazz, and not wanting to be seen as another Spice Girl, the steps of her rising fame, singing in the pubs, the attention of producers, companies, records, popularity, awards, finding the right time for being inserted into the US musical consciousness, the tours, and, ultimately, five Grammy awards.

On the other hand, Amy Winehouse died at the age of 27 alcoholic poisoning. She is a wilful personality, ambitious, violent outbursts, especially towards the video producer, Blake (Jack O’Connell), an addict, who becomes the object of her love and infatuation, an up-and-down relationship, her violence towards him, his prison term, a divorce – yet, as the screenplay highlights, the continual reference to him in her songs, and during their time together, his presence at her concerts.

Which means that this is also a very sad story of a young woman, alcoholic, suffering from bulimia, anti-drug yet introduced to them, unwilling to go to rehab but finally agreeing (and the hit song Rehab), the deep desire for family and children, sober for a time, yet relapsing and dying.

The film has been directed by Sam Taylor Johnson who also directed Nowhere Boy, the film about John Lennon.

1. The title? Amy Winehouse and her career, hit songs?
2. The London settings, the 1990s, the 2000s? London suburbs, streets and homes, Camden, the pubs, the concert venues, offices and studios, rehab? The scenes in the US, the concerts, Florida, the wedding? The background of Amy Winehouse’s life?
3. The music, the songs, the lyrics, the performance, throughout the film, songs at home, background, award occasions?
4. The opening, Amy running, symbolic? At home, the Jewish background and songs, her singing Fly me to the Moon? Mitch joining in? Family atmosphere, living with her mother, her parents separated, the importance of her relationship with her Nan? The box of photos? At home with her mother, her father taxi driving? Nan and her career, her vision for Amy?
5. Amy, drinking, her attitude towards drugs? The wilful personality, drinking? The contact from Nick, performances, contracts, manager? The companies? Her records, the British public, popularity, her continuing success? The issue of America? Her reluctance? A new manager, the company board, their attitude towards the right time for America? Eventually going, performances? Her return to America, marrying Blake in Florida?
6. Amy and her age, experience, the encounter with Blake, playing pool, his singing, his discovering who she was? The bonding, competition, his girlfriend? The invitation for a cup of tea, his arrival, the relationship, the jealousy of the girlfriend? The rocky relationship, Amy and her devotion to Blake, the drinking, the outbursts, hitting him, his reactions? The up-and-down relationship? Her father’s disapproval? Nan and her support? The reaction to the wedding?
7. Mitch, his background, the divorce, supporting Amy, her success, his pride, his reprimands?
8. The ups and downs of the marriage, violence, Blake and his arrest, going to jail, background of his drugs, cocaine, Amy’s reactions? The visit to jail, his wanting a divorce?
9. Amy, her wanting a family, wanting a family with Blake? Disappointment at not being pregnant?
10. The joy of the Grammy awards, Tony Bennett, family, friends, the speech?
11. Amy and her drinking, the consequences? The pressure of the paparazzi, always there, the photographs, calling out to her? In the media, photos, the magazines?
12. The issue of rehab, talking with her father, going to the rehab – and the later success of the Rehab song?
13. Lee Mia, alcohol, relationships, her young age, disappointment about pregnancy, her death?
14. Age 27, achievements, yet a whole life before her? Her place in British popular music?