Displaying items by tag: Michael Fassbender

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?