Displaying items by tag: Lewis Pullman

SKINCARE

US, 2024, 96 minutes, Colour.

Elizabeth Banks, Lewis Pullman, Luis Gerardo Mendez, Michaela J (M.J.) Rodriguez, Nathan Fillion, Eric Palladino, John Billingsly.

Directed by Austin Peters.

The title is very straightforward and for audiences who follow the beauty industry, the developments for skincare, the range of products, the applications, endorsements by celebrities, there is much to enjoy. However, this is a tongue-in-cheek focus on an ambitious businesswoman, 20 years working, Hollywood and LA clientele, about to launch her own beauty line.

Non-skincare fans may well cross off this film for their viewing list. But, a hesitation. Some have called it a thriller. There is some violent action, a death, police investigation, twists and betrayals. But, it may be better to avoid the word thriller with its expectations these days of continued fast action, and see Skincare as something of a dark comedy with satiric touches.

The audience is certainly taking into the world of skincare, beauty centres, rivalries, marketing, finance and difficulties, promos on popular television shows. And, at the centre, making up her face in the mirror in close-up during the opening credits, is Elizabeth Banks as Hope Goodman. All seems to be going well (except for her landlord demanding the rent which she doesn’t quite have), anticipating the launch, and having her moments being interviewed on a television chat show.

In fact, for most of the running time, the plan goes to pieces. First of all, Latino charmer, Angel, with slick expertise sets up Shimmer Beauty only 20 paces away from Hope Goodman’s Salon. And she loses a lot of her clientele because of his publicity. As expected. And he gets the television slot instead of her.

Then things go quite skewiff. Enter a young man, (Lewis Pullman) martial arts training, setting himself up as a life counsellor, charming Hope, ready to intervene. Especially as a horrifying online campaign against her spreads like social media wildfire, false texting, manufactured photos, and even the advertising of sex programs at the salon. She needs Jordan’s help. And after her tires slashed, she needs the help of her friend, Amin, where her new stock is stored.

Most of us in the audience will pick up what is happening before Hope does. Which is a pity, because she tangles issues, her calls for help, attacks on Angel, some disillusionment for her – and the police arriving.

If this sounds interesting and/or entertaining, that is certainly what we are offered. And, her TV interview finally being played but with excerpts edited in a twist against her. Entertaining if not memorable.

1. Based on a true story, Hollywood, the beauty industry, rivalries, tactics, violence, consequences?
2. The title, the opening and Hopes face, the range of cosmetics, preparing herself, the arrival of the police? The action going back two weeks?
3. The Los Angeles setting, Hollywood atmosphere, affluence, business, the beauty industry, realistic aspects, satirical aspects? Implied criticisms?
4. Elizabeth Banks as Hope Goodman, her age, career, devoting herself to beauty, her clients, facials and massages, her own line, made in Italy, the preparation for the launch? Marina working with her, loyal assistant? At the television station, the popular compere is, the filming, her confident talking (and this later being used against her)?
5. Hope and her relationship with our clients, the list, the visits? The business opposite her, her going over, the encounter with Angel, Shimmer as his title, beauty, his premises, his clients?
6. Hope and her reaction, going to the landlord, business is business, the threats about the rent, her plea? Lyons visit and her bringing Jordan, young, his age, the discussions, her attraction?
7. Jordan, initial information, in jail, photographer, his photographing Hope and his charm, flattery? His being a life counsellor? Hope and the conversations about Angel, the various clients and meeting with Hope, that changing and going to Angel, her challenging them?
8. Use of the Internet, messages in texting, for some messages, photos, sex programs listed? The effect on Hope, with Marina, desperate, tires slashed going to her friend, Men, and his holding the boxes of her cosmetics before the launch? The effect on Hope her becoming more and more desperate? The slashing of her tires? The big men approaching her, violent, sex, Jordan arriving and fighting them?
9. Hope, the police and complaints, listening and not listening?
10. Television, Angel and his appearance and talk, the host, Hope contacting Brett, his sexual proposal, her reaction, recording him? His desperation, her saying she deleted the recording? Holding it over him, the phone calls, putting her segment to air? The mysterious man watching her in the diner, following her in the street – and the final revelation that he was hired by Brett and said that the tape was deleted?
11. Hope, following Angel, at home, his karaoke singing?
12. Hope, the phone calls, demanding on Jordan, his coming, waiting, and the audience knowing who really was, the men in his martial arts and life course, hiring them for a further attack on Hope? His becoming more and more desperate, phoning the police anonymously about Hope?
13. Hope, finding the truth about Jordan, his slashing the tires? Her wanting to set him up?
14. Yet her continued animosity towards Angel, going to Amin, his going to the house, assaulting Angel, his own wound, driving, his crash?
15. Marina, a relationship with Jordan, giving up hope the address, her going to confront him, the baseball bat?
16. The police, the assault on Angel, suspicions?
17. Angel in his recovery, the effect on Hope, the suspicions because of the men and Jordan, the police coming to get her, her moment in the limelight, photographed?
18. Brett and the host, playing the interview with Hope, her own words implying that she had gone into action against her arrival?

THE CAINE MUTINY COURT MARTIAL

US, 2023, 108 minutes, Colour.

Kiefer Sutherland, Jason Clarke, Jake Lacey, Monica Raymund, Lewis Pullman, Jay Duplass, Tom Riley, Lance Reddick, François Baptiste, Gabe Kessler.

Directed by William Friedkin.

In 1954, audiences worldwide were very impressed by Edward Dmytryk’s film adaptation of Herman Wouk’s celebrated novel, The Caine Mutiny. With a very strong cast including José Ferrer, Van Johnson, Fred MacMurray, the attention was on Humphrey Bogart as Captain Queeg, not the usual kind of character that he played. He was the captain of the ship, his subordinates accused of mutiny against him, the revelation of his character, his fixations, his nervousness…

In 1988, Robert Altman made a television version of the play based on the novel, The Caine Mutiny Court-Martial.

2023 saw a new version of the play, filmed for television, and, in fact, the last film by celebrated director William Friedkin (The Exorcist, Oscar for The French Connection). He directed the film in his late 70s.

Time and location for this story has been updated to the 2020s, specific dates, a situation of mines in the Persian Gulf. And there is all the contemporary technology to draw on. And, another change, the prosecutor has been changed from male to female, now played by Monica Raymund.

There is a very interesting male cast, Jason Clarke at his best as the defender, Jake Lacey in a much more serious role than usual as the officer accused of mutiny, Lewis Pullman as the sinister presence.

The film is dedicated to veteran actor, Lance Reddick, who appears as the presiding judge, a strong role, his last film role.

Where this version differs is that Captain Queeg is not presented initially so strongly neurotic as in the other versions. Here he is played by Kiefer Sutherland, defending himself, speaking forthrightly, the touch of the trembling hands. However, he is later called as a witness for the defence, the defence badgering him, and all his neuroses revealed – especially in the context of the testimony of eccentric behaviour explained by the main witnesses for the defence.

While Captain Queeg is condemned, the defence lawyer gives a speech honouring his service to the country over so many decades, the lawyer drinking, going to a celebratory party, and denouncing the sailor, the novelist, who, insinuating, brought on the fall of Queeg. And the film stops.

It is over to the audience, to relive their experience of the trial, the various testimonies, contradictions, denials, personal motivations, integrity… and make their own assessments and judgments.

1. The long popularity of the novel and the film? The stage play the court-martial, Robert Altman’s version? William Friedkin’s version? The updating to the 2020s and contemporary technology?
2. The film based on a play, the emphasis on dialogue, interactions? The audience imagining the episodes talked about? The end, leaving the courtroom, in the street? At the party? The musical score?
3. The episode, the relieving of Captain Queeg of his office, the situation with the mines, Maryk taking responsibility? The episode seen as mutiny?
4. The introduction to Maryk, age and experience, discussions with Barney Greenwald, his appointment a few days before, accepting him as defence?
5. The proceedings of the court, the presiding judge, his focus of attention, decisions about objections, his interrogating the witnesses, the decision about reprimanding Greenwald or not? The other members of the bench attentive?
6. Greenwald, his background, his tactics, his interviewing the range of witnesses, turning Queeg into the equivalent of the accused, little interrogation of him, awaiting his return? The eliciting of information, description of the episodes about Queeg? The cumulative effect?
7. Challee, the prosecutor, a woman in this version, the attitudes, his determination, the questioning of witnesses, the defensive Queeg, her objections, not always sustained? The cumulative effect, her final speech and criticisms of Greenwald?
8. Queeg, his presence, the impact, issues of his mental stability, his answers to questions, his explanation of the situation? Maryk listening to him, looking at him?
9. Keith, his friendship with Maryk, his explanation of the range of stories about Queeg? Greenwald drawing him out? The contrast with Keefer, the novelist, advising Maryk, friendship with Maryk, the decision to go to the higher authorities, backing out?
10. The young sailor, 20 years old, awkward, not familiar with court proceedings, his testimony?
11. The witnesses for mental health, the psychologist, the defensive Queeg and his abilities? The intricacies of the cross examination? The doctor, limited experience in his work, of the Navy, his defensiveness?
12. Maryk and his testimony, the prosecutor hostile, indicating his limitations of education and comprehension? Greenwald, drawing out the stories, Queeg’s strange behaviour, the stories, the key, the searching of the personnel naked, his testing out all the keys, the bucket of keys? The story of the banning of films? The banning of water because of one man having a shower? The persecution of the men? Maryk and keeping his log, quoting from it, Keefer’s advice?
13. Queeg going on the stand, booking, the denials, issues of memory, his nervousness, twiddling his thumbs, the balls in his pocket, Greenwald and his further interrogations, the tangle of the stories, the cheese, the strawberries, his further entangling himself, his beginning to rant, self-justification, his condemnation of the men, their lack of discipline, order, his extremism, shirt hanging out…? Greenwald getting him to read out his positive testimony about Maryk?
14. The final effect of Queeg testimony? The prosecutor and her business? Greenwald and his final comments? Talking with Maryk, saying he had murdered Queeg? Doing his duty as a defence lawyer?
15. Discussions of mental health, sanity and insanity, signs and symptoms, control, paranoia, self-esteem, self-justification? Perfectionism?
16. The aftermath, the issue of the party, whether Greenwald would go or not, his drinking, arrival, his harsh words, the confrontation with Keefer, exposing him as the power behind the throne, Keefer wanting to get Queeg, writing the novel, the money? And throwing the drink and his face?
17. The finale, the sudden stop, leaving the audience to assess what they had seen, the defensive Queeg and his long service, yet his failure in command? The role of Maryk, respect and disrespect? Experience? And the malice of Keefer?

SALEM'S LOT

US, 2024, 170 minutes, Colour.

Lewis Pullman, Mackenzie Leigh, Jordan Preston Carter, Alfre Woodard, Bill Camp, John Benjamin Hickey, Spencer Treat Clark, Plou Asbaek, Alexander Ward, William Sadler.

Directed by Gary Dauberman.

Salem’s Lot is one of Stephen King’s earliest works. It has been filmed several times, most successfully for television.

Here is a 21^st-century version – which has not received the hoped-for acclaim.

It is a story of a town in Maine, Stephen King territory. There has been atmosphere, disturbing, in the town, and a writer returns to investigate his past. His played by Lewis Pullman. At the same time, a wealthy man buys a property and imports a large box – revealed to be the container for a vampire.

So, this is a vampire film, strikingly visual as regards the vampires but their behaviour resembling that of many zombie films.

The writer is attracted to a young woman in the estate agency, dominated by her mother who eventually turns out to be the servant of the vampire owner. There are sympathetic characters in the town, especially the school principal. The most sympathetic character is a young boy, Jordan Preston Carter being a strong screen presence. He is bullied, discovers, to his horror, that some of his young close friends who supported him have become vampires.

There are not so many surprises in the vampires taking over except the death of the young woman, so no ultimate romance. But the school principal is taken over – played by Bill Camp. On hand is the local doctor, very tough, played by Alfre Woodard.

One of the most interesting features is that the town streets are deserted, no cars, discovering them all at the drive-in, the zombies in the boot of the car, ready to emerge as soon as darkness falls. One of the best features is the young boy driving a car, knocking down the drive-in screen so that the sun burns up the emerging vampires.

However, there are some ultimate confrontation is very little of a happy ending.

1. A Stephen King novel? Previous film and television versions? 21^st-century interpretation?
2. Atmospheric horror, the mysterious removal at the opening, ominous sense, the box, is one, the dirt…? Setting the tone?
3. Salem’s Lot as a Maine town, atmosphere, small, homes, diner, schools…? The musical score?
4. The arrival of the visitor, renting the old house, the storing of the coffin? Mysterious?
5. The school, the boys, the bully, Mark, Danny and his friends, the second attack, Mark tripping him, the fight, the principal, breaking the fight, supportive of Mark? Mark and his family?
6. Ben, driving into town, his past story, growing up, parents killed in the crash? His career as a novelist? Looking for accommodation, Susan and the book, realisation of who he was? Later visiting him, the attraction, discussions, the scene at the drive-in? The sexual relationship? Her back story, her possessive mother?
7. Barlow and his background and dominance? Straker and his role in the town? The young boys, families? the range of town characters – and the preparation for them to be vampirised?
8. Ben, his presence in the town, interactions with people, memories of the past, Susan’s mother warning him off? His research?
9. The time, the dark, the manifestations of the vampires, their appearance, zombielike behaviour?
10. The taking of the town, the various confrontations, including Susan? The school principal, the caretaker, his intervention, his becoming a victim?
11. The doctor, her role in the town, tough, sceptical, becoming involved? Susan’s mother and antagonism?
12. The buildup to the climax, Mark and his interventions, his family? The other boys – and the scenes of their being pursued in the forest, taken over by the vampires? Vampires themselves, their appearances, confrontations?
13. The means of warding off the vampires, the crosses and the light, on the vampires’ faces, and the personal interventions, especially Mark and his young friend? The attempts to resuscitate Susan, her turning on them?
14. Mark, using his wits, into the house, locked in, escaping, the drive-in? The absence of cars on the streets, all at the drive-in? The huge screen? Looking in the boot of the car, the vampires all hidden? The setting sun, the coming of the darkness, trying to open Barlow’s coffin? The dark and the vampires emerging at the drive-in, Mark and his driving, knocking down the screen, prolonging the light, and the light consuming the vampires? The buildup to the final confrontations, Susan’s mother shooting the doctor? Mark arriving and knocking her down?
15. Surviving, Mark and Ben, and driving out of Salem’s lot?