Displaying items by tag: Mark Strong

STOCKHOLM

Canada, US, Sweden, 2024, 92 minutes, Colour.

Ethan Hawke, Noomi Rapace, Mark Strong, Christopher Heyerdahl, Bea Santos, Mark Rendall, Ian Matthews, John Ralston.

Directed by Robert Budreau.

Since the 1970s the phrase, Stockholm Syndrome, has been increasingly used to cover the situation where hostages, captives, begin to feel that they are being treated well by their captors and tend to identify with them rather than their rescuers. At the time, one of the prime examples was the abduction of heiress, Patty Hearst.

This film, filmed in Stockholm itself, tells the story (both more and less) of the episode which was the basis for the Stockholm Syndrome.

Ethan Hawke gives a strong performance as Lars, the prisoner, disguising himself in order to hold up a bank. He is definitely a wild card, erratic behaviour in the bank, and with the various personnel. And, his demand is that his friend, in prison, be released. Unexpectedly, he is played by Mark Strong. The police expect him to act as something of a mediator.

And there is the exasperated chief interrupted at a photo shoot and persuaded that the situation at the bank is very serious, some of the mediators, using a gun, creating tension.

Ultimately, there are three hostages, led by Swedish actress from the Stig Larsson Girl series, Noomi Rapace, a bank teller, married with a child, the opposite of many of her roles. There is another teller as well as a man who is found and taken hostage.

The drama shows the interactions between the two men, the treatment of the women, the softening of their attitudes, their actual collaboration in setting up deceptions for the police. The police also try microphones, drilling through the roof, the insertion of gas.

Lars finishes up back in jail, a visit from his hostage and her reflections on her experience, and the beginning of the status of the Stockholm Syndrome.

1. The title, the city, the bank, the vistas of the city? The bank heist? The origins of the Stockholm Syndrome?
2. The introduction, the use of the word absurd, serious and comic, extreme? Based on a true story?
3. The Bob Dylan songs and lies and his urging the singing?
4. The introduction to Lars, his behaviour, his disguise, the wig, the bag, weaponry, to the bank, the proclamation of the robbery, his manic behaviour, the reaction of the staff, ushering them out, his declarations, meeting the manager, Bianca, alerting the police, his taking the two women? The police, his demanding that his friend be released from jail? Waiting?
5. The reaction of the police, the absurd touch with the photo and the delay, the hurry to the bank, the associates, the associate with the gun and Lars shooting? The demands, the strategies?
6. The two women, their fears, finding the other man and his becoming a hostage? The hostage situation? Lars and his interaction with the hostages, the discussions with Bianca, her reaction, his allowing her to phone her husband, the relationship, her children?
7. The arrival of Gunnar, the background, the friendship, Lars and his disguise, the conversation, Gunnar supposed to be a mediator, his bond with Lars, the plains, the escape, the car? The threat to the hostages?
8. The role of the police, the discussions, strategies, confrontations, the plan with the car, the gun and the shooting of Bianca, the plan for her being shot, the jacket? Continuing the deceit?
9. The dangers, the bonding, the cooperation of the women after the fear, in the vault? Discussions, time passing, playing cards…? Bianca and her reactions, change of attitude, Lars, the bonding, the kiss, more?
10. The attempts to talk with the Prime Minister, his delay, the media outside, the interviews, the police watching the television interviews, Lars and the group listening to the radio?
11. Building up to the deception, the demand for food, medication? The Chief arriving with the bag? The decision to drill through the roof? The microphone? The gas? The group getting out, in the car, the shooting of the tyre? The return to the bank?
12. The chief, thinking that Bianca was alive, the gas, the opening of the vault, the rescue? The video that Bianca was alive? Her husband and children watching?
13. The confrontation between Gunnar and Lars, shooting? Fight?
14. The end, Lars in jail, the visit from Bianca? The voice-over, the teaser at the opening of the film, her comment about her husband, the relationship with Lars?
15. The development of the Stockholm Syndrome, captives identifying with the characters rather than the rescuers?

THE CRITIC

UK, 2023, 101 minutes, Colour.

Ian McKellen, Gemma Arteton, Mark Strong,Ben Barnes, Lesley Manville, Romoloa Garai, Alfred Enoch, Claire Skinner.

Directed by Anand Tucker.

An uneasy and uncomfortable cinema experience in the company of this particular theatre critic, a compelling performance by Ian McKellen as a 1934 London theatre critic, Jimmy Erskine.

Watching The Critic, a reviewer can take comfort in the role of mediator between a film or a play and its audience, open to the possibilities, appreciating the experience likes and dislikes, offering an opinion to the reader. As we see here, the critic, even though working for a media outlet, can be a self-appointed arbiter of taste, of what they consider good or bad, assuming an arrogant role, pronouncing judgement, pronouncing sentence. If ever there was a supreme example of this kind of critic, Ian McKellen brings him to life. (Which is not to say that this is how Jimmy Erskine, the critic, lives his alcoholic, promiscuous, aesthetic, actual life.)

And, the period is 1934. Oswald Moseley’s fascists, black shirts and badges are patrolling the streets, ready for violence, especially hounding homosexuals. In his role of critic, and in his manner, and in his sometimes malevolently crafted statements (as if fact) indicate that he has a fascist mentality.

There is no character really to like in this film. The other protagonist is an ambitious young actress, Nina Land (Gemma Arteton) urged on by her sympathetic mother (Lesley Manville), the target of Erskine’s hostility for 10 years. When she decides to confront the critic, there is an unholy alliance temptation, honesty and pacts, and malicious destruction.

The story has a central core of characters and a gradual revelation on the interconnections, the proprietor of a popular newspaper, played with serious intensity by Mark Strong. There is an artist, Ben Barnes, infatuated with the actress. There is his wife, daughter of the newspaper proprietor. Also in the picture is Tom (Alfred Enoch), the critic’s secretary and live-in companion.

Erskine, disliked by the proprietor who is urging restraint in the reviews, is on the verge of being sacked after 40 years. What happens when arrogance is threatened? And arrogant assumptions that victory is inevitable?

The film shows the repercussions of malevolence under polite veneer. Ian McKellen, in his mid-80s, relishes this opportunity to dramatise evil (although, we remember he had been Richard III as well as in the X-Men as Magneto). In many ways, we, the audience, are being drawn into the evil plot despite ourselves and our disgust. The supporting cast is strong, generally playing upper-class types who presume on their class. Ultimately, the issue is conscience leading to some kind of truth and exposure – but really no conscience for the arrogant critic.

1. The title, expectations? The original novel, the work of playwright Patrick mother? The British cast?
2. The 1930s, the prewar atmosphere, the UK, the presence of Oswald Moseley and the fascists? (The film critic and his fascist behaviour?)
3. The period, homes, flats, theatre, proscenium, audience, backstage? The press? The London streets, pubs, restaurants? Atmosphere? The musical score?
4. The portrait of Jim Erskine, Ian McKellen’s presence and performance, the theatre critic, theatrical in his presence and behaviour? Arrogant, opinions, judgements, sentences? His freedom to express himself, no matter the hurt? His friends and contrary, at the club? Their careers, older, on the downturn? His aesthetic, his indulgent life, sexuality, violence and vengeful, no scruple?
5. The situation, the press Baron, his death, his son taking over, the meeting, the advice to turn down the the reviews, Erskine’s reaction? His decision to bring the press Baron down?
6. Nina, performance, nervousness, 10 years, her mother and influence, coaxing Erskine and his discussed? Discussions with her, the mother’s pressures, Nina visiting Erskine, their discussions, bonding, using each other? His praising her in reviews? The planning of the seduction, her previous relationship with Nick, the portrait painter, his wife, the separation? Reuniting with Nina? Nina and the experience with the press Baron, the seduction and her manner, performance? The effect, his going out and shooting himself? Her reaction? Confronting Erskine, his anger, upset, her death?
7. The press Baron, aristocratic, generally decent man, his wife, infatuated with Nina? His daughter, married to Nick, the effect of the experience with Nina, the aftermath, killing himself?
8. Nick, his situation, the marriage, separation, the children and their interventions, his affair with Nina, resuming it? With Erskine, painting the portrait? Painting the club members, the exclusion of Erskine? His hopes, – with Nina’s death?
9. His wife, the attitude, her father, the taking over of the company, her determination to destroy Erskine?
10. Erskine, his orientation, his behaviour, prowling and partners, the police, the Moseley fascists? The ridicule, the fights? His arrest, interrogation, his condemnation?
11. Tom, living in with Erskine, helping with the reviews, the writing? His conscience, going to action against Erskine?
12. Erskine, in jail, the letter, any remorse?

ATLAS

US, 2024, 118 minutes, Colour.

Jennifer Lopez, Simu Liu, Sterling K.Brown, Gregory James Cohan, Abraham Popoola, Mark Strong.

Directed by Brad Peyton.

In 2001, Steven Spielberg directed the film, AI. While the reality of Artificial Intelligence was known, it was comparatively early days for the movies to explore the repercussions of AI, of robots, of collaboration between humans and artificial intelligence, conflicts.

This theme has continued very strongly through the following tickets.

In one sense, this is familiar material here. However, with computer-generated effects continually improving, this exploration has its spectacular moments, machines, robots, space travel, battles and conflicts.

However, this is a Jennifer Lopez film. She acts as Executive Producer as well as starring. While there are some supporting roles, especially from reputable actors like Sterling K.Brown and Mark Strong, the main focus is on Jennifer Lopez as a technology analyst, Atlas, is called on to confront a rebel robot threatening humanity through his knowledge, technological skills and the creation of a robot army.

While there is an introduction to the theme, especially the pursuit of a vicious robot, his being trapped and destroyed, yet his head surviving connected to machinery, challenging humans to confront his maker, Harlan (Simi Liu). There is a history between Atlas and Harlan, her mother having created him and the daughter feeling his being favoured over her and her resentment and action leading to potential disaster.

As an adult, Atlas is rather humourless, single-minded, agreeing to go on a mission to the planet where she has discovered Harlan is based.

The latter part of the film, Atlas is contained within the giant transformers -like robot was a very pleasant speaking voice (Gregory James Cohan) and a pleasant manner which she doesn’t respond to well. However, there has to be some kind of bonding for the success of the mission as well as for Atlas becoming more human herself. The interplay between Atlas and the transformer robot, whose name is Smith, bring some welcome lightness of touch to the serious proceedings.

So, a mission, a confrontation with Harlan, mission accomplished – and the world is saved until the next AI human-threatening movie.

1. The popularity of this kind of futuristic science-fiction? Advanced technology, space exploration? The development of AI, I created characters, skills and technology, overcoming humans, creating an army of robot warriors?
2. The photography, technology, space travel, the combat sequences, the transformer like armoured robots, the locations of different planets? The musical score?
3. The mood set with cascade, robot, confrontations, fight, destruction, Atlas confronting him, his body missing, but his head linked to the controls? His later reappearance, the multiple Cascas?
4. The credibility of the situation, the future, the scientists, creating the AI robots, the powers, codes, beyond human capabilities, the revolution, need for the pursuit of the Arch robot, the tactics, the expedition and disaster, at the centre survival, communication with Smith? Atlas and her background with Harlan?
5. The introduction to Gen Boothe, his plans, the discussion with Banks, the difference of opinion, especially towards Atlas? The decision for the expedition, the preparation of the Rangers? The issue of Atlas, her background, her mother is the scientist, her growing up with Harlan, her antagonism? Her role as an analyst rather than a warrior?
6. The introduction to the Transformer -like robots, the sequence with Zoe getting the cup of coffee? Importance of these robots?
7. The expedition, the flight, the attack, the disaster and destruction? Banks disappearing? Atlas, single-minded, humourless, being protected by Smith, Smith and his voice, programmed you human, the directions, wanted them to synchronise, her refusal, the searching of the remains, planning strategies, her being wounded, Smith’s methods of treating the leg? Language, humour, sarcasm – and Smith adapting?
8. There are ultimately bonding, working together, Atlas and her wariness, antagonism towards Harlan? The revelation of the background, her feeling neglected by her mother, her mother favouring Harlan, the antagonism?
9. Harlan, eventually appearing, his control, his abilities, his capture of banks, getting information after torture? Atlas captured, the collaboration with Smith, getting free, Banks and his help? The confrontation with Harlan and his robots, destruction?
10. Atlas, returning, mission accomplished, booths visiting her, her new robot protector – and the pleasant review acquaintance with Smith?
11. The popularity of this kind of futuristic AI scenario in the movies of the 2020s?