Displaying items by tag: Michael Fassbender

BLACK BAG

US, 2025, 93 minutes, Colour.

Michael Fassbender, Cate Blanchett, Tom Burke, Marisa Abela, Rege-Jean Paege, Naomi Harris, Pierce Brosnan, Gustaf Skarsgaard.

Directed by Steven Soderberg.

Black Bag is a film from Steven Soderberg, now a veteran director, early on the scene at a young age, winning at Cannes, 1989, with Sex, Lies and Videotape. He won an Oscar for Best Director in 2004 Traffic. Now, 35 years later, that title does describe key elements in this 21^st-century story of bureaucratic spies, agents, secrets, lies, 21^st-century surveillance technology.

Soderberg is a very hands-on filmmaker and with most of his films, as here, he uses the pseudonym, Peter Andrews, for his role as cinematographer and Mary Ann Bernard (his mother’s actual name) for his role as editor.

The writer of this film is also a veteran, David Koepp, with a range of films from Jurassic Park to Spiderman and, for Soderberg in recent years, Kimi and the ghost story, Presence.

In many ways, this film could be described as intellectual. The setting is London, the key characters generally behind the scenes in their agency. The setting is London, the screenplay takes place over a week, each day indicated. There is very little on screen action (a drone exploding a car on a Polish road), with more talk, discussion, testing, polygraph sequences, cant-and-mouse games and an eruption of truth at the end.

At the centre is top intelligence agent, George, played precisely by Michael Fassbender, meticulous in manner and order (sometimes looking like OCD touches), informed that there is a traitor, the disappearance of information which could trigger explosive results, his quest to find the traitor. And, his link indicates that that could include his wife, Katherine a surface-assured agent, Cate Blanchett. He invites for over collaborators to a dinner, playing a game to try to determine who with a traitor could be. And the game is rather intelligence intriguing, each guest voicing a resolution for the future for the person sitting to their right. Of course, quite a number of secrets and lies, and a dramatic plunging of a knife into the hand of one of the guests.

As the week goes on, we are introduced to the top administrator, played by a silver haired Pierce Brosnan. We get to know the other dinner guests will, bread, a bluff agent played by Tom Burke (Cormorant Strike from the Robert K Galbraith stories and television series), Clarissa, his partner, by Marisa Abela (TVs industry in a striking performance as Amy Winehouse in Back to Black), Bridgeton’s Rege-Jean Page as James, a Colonel and Naomie Harris, veteran of many films from Moonlighting to being Miss Moneypenny and the Daniel Craig bond films) as Zoe, the in-house psychologist.

And so the week continues, Katherine going to Zürich for a contact, George using Clarissa for deep surveillance on her meeting. There are also counselling sessions with Zoe for Katherine and Steve, more secrets and lies.

Then George tests the dinner guests with the polygraph and then organises another dinner, more games and revelations, placing a gun on the table – and, with the pressures of the discussion, the decision that whoever lunges for the game is the traitor. Yes.

So, an espionage story but an exploration of motives and actions rather than non-stop activity – no, there is quite an unexpected shootout!

1. The world of security, agents, spies? The code of secrecy, lies, cover-ups, the symbol of the black bag?
2. A story of spies rather than a thriller? Secrets, plans, betrayals, testing, unmasking? Not an action spy thriller?
3. The London setting, interiors, the home and the dinner, the official officers, meeting rooms? Zürich, the airport, the square, the road through Poland, the fishing? The atmospheric score?
4. The work of Steven Soderberg, for 35 years, the title of sex, lies and video tapes, and the reprisal of equivalent themes in the 21^st-century? His photography, his editing?
5. The introduction to George, serious, meticulous, the camera following him in the street, the club, the contact, the issue of a traitor, his commission to find the truth? His relationship with Katherine, with her on the list? At home, no lying, each prepared to life of the other, kill for the other? His cooking, detailed, the stain on the shirt, changing his clothes, the touch of OCD?
6. The arrival of the guests, the spiking of the drinks, ready and Clarissa, the initial impressions, James and Sally, the relationship? Their meeting at the cafe, Freddie late, bringing the drinks, suspects? The conversation during the meal, George playing the game, each making the resolution for the other, truth and denials, Clarissa and her anger, Freddie and his affairs and denials, the knife in his hand, the relationship between Zoe and James? The end of the dinner?
7. The structure of the film, the indication of day by day?
8. The character of Freddy, passed over, the lies about his relationships, meetings with Zoe? Yet the relationship with Clarissa? Her background, family, their skills in espionage?
9. The character of James, the relationship with Zoe, her breaking it, his anger, Zoe and her psychology role, the meeting with Katherine, their exchanges, their attitudes towards each other?
10. George, going fishing, the meal? At home with Katherine, her going to Zürich? George and the office, Clarissa and the technology to home in on Katherine, her meeting, the issues, sales, the Russian? The supervisor glancing at the screen? Katherine and her return?
11. Suspicions of James, George taking him fishing, the gun, the conversation?
12. Stiglitz, in charge, the issue of Cerberus, disappearance, sale, money? The capabilities of each character? Suspicions on Stiglitz? His manner?
13. The lie detector, the questionnaire each of the suspects, truth and lies, covers?
14. Katherine, the connection with the CIA and information?
15. The murder of Philip Meacham, Georges contact, his death, suspicions?
16. The meeting for the final game, revelations, the gun on the table, the exposes, Clarissa not lying, James grabbing the gun, his being identified as the traitor, the story of the money, the deals, the CIA and the killing of the Russian and his contact? Katherine shooting him? The disposal of the body?
17. George and Catherine, working together, Katherine and her confrontation with Stiglitz and challenging him?
18. In espionage film of words rather than action?

NEXT GOAL WINS

U/US, 2023, 104 minutes, Colour.

Michael Fassbender, Oscar Kightley, Kaimana, David Fane, Rachel House, Beulah Koale,Taika Waititi, Will Arnett, Rhys Darby, Luke Hemsworth, Angus Sampson.

Directed by Taika Waititi.

It’s true. Decades ago, in an international football match (“soccer” to many) Australia played American Samoa and won, 31-0. This has become part of football folklore and was the subject of a documentary also called Goal Wins.

So, what if writer-director, Taika Waititi, with his wry sense of humour (his rock character in Thor, vampires living in Wellington, What We Do in the Shadows) decided to write a movie treatment? He did, and here it is. And he filmed it on the island of Oahu, Hawaii.

There is love of football codes in the Pacific Islands as well as in New Zealand and Australia, more rugby is than soccer. The American Samoans, saddened by their loss to Australia, still want to field a team. So, there is a lot of comedy potential in showing the ragtag team, their inept play, the great desire to score and International match just one goal.

In the meantime, this film also becomes a story of Tom Rongen, an easily irascible coach who is fired and reluctantly takes the option of coaching American Samoa. He is played by Michael Fassbender with quite some intensity.

There have been a number of complaints about the film, that it is a step down for the director, especially after his big-time Marvel movies with Thor. But, we remember Boy and Hunt for the Will to people, and he has always had that enjoyably low-key humour, turn of phrase, the touch of the sly which generally tickles an audience sense of humour and keeps them smiling if not laughing out loud. And, this is what happens here, all throughout the film, enjoyable dialogue touches, like the scene with a Samoan police officer chasing a speeding car (well, the speed limit is 30 mph) and warning him to drive carefully with the comment, “Heaven’s full!”. (waitit was very successful with this kind of screenwriting with JoJo Rabbit, Oscar-winning, and his clever sendup of Hitler.)

Another funny sequence is the football boards firing of the coach and predicting that he will go through Elizabeth Kubler Ross’s five stages – and he does!

Lots of some on characters, players, sometimes successful, often not, all kinds of training and exercises (pauses for prayer, never on Sunday), the standout character is being Oscar Kightley more as the President of the football club, also press photographer, restaurant owner, everybody trying to make some money to keep the club going. He is a fine counterbalance to the coach, and engaging screen presence. And there is Kaimana as the champion transgender player, Jaiyah,challenging the coach, succeeding in the end.

There is an enjoyable cameo appearances from Rhys Darby, Rachel House, Elisabeth Moss, and obnoxious Will Arnett and loud-mouth talkers, Luke Hemsworth and Angus Sampson.

So, this is a modest feel-good movie, and there is no law against enjoying the obvious!

As with so many films, the final credits show the real Thomas Rongen,, coach and sports commentator, and the actual Jaiyah, coach and FIFA official.

PS. Please sit through the rather long final credits, listening to the music if you don’t read them fully, because who should turn up right at the end but Waititi himself as the Samoan priest from the beginning of the film and a funny joke so that we leave the cinema laughing.

1. A true story? American Samoa, football, ambitions? Realistic look? Humorous look?
2. The American Samoa setting, filmed in Hawaii, small, township, meeting places, the mountains and tracks? The football sequences in Samoa, the stadium? Atmosphere?
3. The opening, the replay of the Australia versus American Samoa match, 31-0? The response of the people, hopes, continuing with the team, the members, practices, comic presentation of errors? Tavita, the president, his son playing, the pep talks, the hopes, searching for a coach? The local coach, agreeable, submissive, sacked? Yet still helpful?
4. Tom Rongen and his situation, the board, his explanations, hired, the panel, the joke with Elizabeth Kubler Ross’s five stages illustrated, Tom’s wife present, the smug Chairman, the option to go to American Samoa? His taking it, the flight, arrival, the TV press, Tavita as the cameraman, his accommodation, basic, his resentments?
5. The characters in American Samoa, Tavita being genial, his enterprising wife and her interventions, disguised as an oracle on the beach, tin cans? The younger members? The large goalkeeper? The police official, his strong kick? Jaiyah and the transition situation, identifying legally for the match as male, the transition? Football skills? The former goalkeeper, his losses, being recruited? The other players returning? But the player run over by the truck?
6. The meetings with the coach, exercises, slack, improving, stopping for prayer, no practice on Sundays? The religious atmosphere? The introduction to the situation by the Samoan priest, and the director’s comic dialogue and style?
7. The short time span, Tom Rongen, his drinking, at the store, phone calls, his wife, their separation, the revelation of the death of his daughter and its effect on him? His wife and her relationship with the chair of the board? The practice sessions, giving up, illustrating moves, the interactions with Jaiyah, his being punched out, skills?
8. The bond between Tom and Jaya, animosity initially, stories, respect, friendship?
9. Tom eventually telling his story, his angers, his daughter, the bond, playing football, the drive, the crash and death?
10. The great desire to kick one goal? The meetings, prayer? Going to Samoa, the flight, touch of jetlag after 35 minutes! Settling in, the encounter with the Tongan team, their aggressive tactics?
11. The buildup to the match, hopeless, Tom and the previous illustrations of his angry behaviour, repeating it, leaving? Tavita and the conversation, prevailing? Change of heart, Jaiyah as captain, the strategy, the player tripping the opposition, the penalty, the goal? Tavita and his collapse?
12. The device of Tavita in hospital with his wife, his son coming to explain what happened, the flashbacks, the tactics, and the second goal?
13. The interlude with the Australians remembering the big defeat of the past, loud-mouths, friendly?
14. Happy ending, the achievement, Tom and his decision, with his wife, the members of the board?
15. Footage of the actual Tom Rongen, his career, commentator? Of Jaiyah, the transition, continuing to play, coach, FIFA official?
16. Important not to miss the final sequence after the credits, the Minister, Taika Waititi, the final joke, not walking on water!

THE KILLER

US, 2023, 118 minutes, Colour.

Michael Fassbender, Tilda Swinton, Charles Parnell, Arliss Howard, Kerry O'Malley, Sophie Charlotte, Sala Baker.

Directed by David Fincher.

A David Fincher film, an alert to his many fans for almost 30 years. We remember Seven, Fight Club, Social Contract – and we anticipate some tough content and style. And that is what we get.

The screenplay is based on a graphic novel, with six chapters, focusing on the work of the central character, targets, experts, lawyers… The title is very plain, straightforward. Hitman would have been better but this has been taken already in a number of films. And The Killer has no personal name – but a plethora of passports with a range of false identities, enabling him to move from country to country with ease, tracking his targets, confronting his controller, seeking out personal vengeance.

But, for the audience, The Killer is very personal. Michael Fassbender is an actor whom the camera loves, always interesting, always fascinating, and here the audience goes along with him, sharing his experiences (though always with a sense of dread and some touches of feeling guilty complicity), but, particularly, The Killer with voice-over, confiding in the audience, explaining what he is doing, why he is doing it. And he repeats his mantra: " Stick to the plan. Anticipate, don't improvise. Trust no one. Yield no advantage. Forbid empathy."

The film opens in Paris, The Killer in a hotel room, preparing his weapon, surveillance of the apartment where his target will appear. And, despite a meticulous record, the assassination attempt fails. He is sighted, pursued, but with his extraordinary chameleon-like ability to blend in the crowd, change clothes for disguise, draw on his many passports with names from earlier television programs, is able to get back to his retreat in the Dominican Republic, only to find an attempt and vengeance on him, but brutalising his companion. He is merciless in pursuit, tracking down local taxi drivers and his companions brother to get further information, and shooting potential witnesses without qualm.

From then on, The Killer is on his own vengeance track, taking him to the corrupt lawyer who turned him from legal studies into a hitman (Charles Parnell), mercilessly getting information from his fearful assistant (Kerry O’Malley), then to Florida for the first step in vengeance on the attackers in Santo Domingo, trips to New York, to Chicago, and the completing of his merciless mission. And, at the end, there are excellent cameos from Arliss Howard and, particularly, from Tilda Swinton who is given significantly interesting dialogue reflecting on executions, targets, motivations, money, greed.

In the background are questions of values, meaning of life, The Killer living in the hell of his own, creating hells, only momentary signs of possible redemption in his relationship with his companion. Which means that we have experienced a thriller, a screenplay with wry and ironic dialogue, a story of emotionless and ruthless violence.

1. The title? Based on a graphic novel? The influence of French gangster films?
2. The locations, the city of Paris, the apartments, airports, the Dominican Republic, the countryside, the mansion, the taxi service headquarters, New Orleans, the lawyer’s office, Florida, the scenery and the assessment, New York, the restaurant and Riverside, Chicago and the business office? The dividing of the structure into chapters and titles?
3. The anonymity of the killer, his many passports and identities?
4. The voice-over, the Killer and his explaining his philosophy, a continued mantra, reciting it in action? The temptations to improvise, to stay with the plan, no empathy? Consequences of empathy?
5. Michael Fassbender as the Killer, performance, screen presence, attractive to the audience, yet alienating them? His regime, exercise, fitness, alert, contact with his minder in New Orleans? Surveillance, patients, seeing the target? His weapons, sites, aiming? The arrival of the dominatrix, the episode, his failure? The effect, being seen, the escape, disguises, the airport?
6. The situation in the Dominican Republic, the mansion, his companion, her being brutalised, hospital, her giving the information about the assailants? The interrogation of her brother, the taxi driver and his being shot?
7. The lawyer, in New Orleans, law professor, tempting the Killer away from his legal studies? Control? His assistant, her fears? The confrontation, shooting the lawyer? Taking the assistant, the files, the information, at home, killing her?
8. The information, going to Florida, stalking the assailant, the brutal fight, killing him?
9. Going to New York, the description of the partner, following her, the restaurant, the discussions with her, the waiter on the menu, her philosophising about her life, the inevitability of her death, issues of money and greed? The interactions between the two, his suddenly killing her?
10. The visit to Chicago, the identity of the employer, in his office, his ruthlessness, money, confrontation with the killer?
11. The end, his return to the Dominican Republic, his companion?
12. Morality, amoral attitudes, wilfully, creating hells for people, the killer creating a hell for himself? Any possibility for redemption?