Displaying items by tag: Nicholas Hoult

THE ORDER

US, 2024, 116 minutes, Colour.

Jude Law, Nicholas Hoult, Tyler Sheridan, Jurnee Smollett, Walter Slezak, Odessa Young Alison Oliver.

Directed by Justin Kurzel.

The events in this investigative thriller took place in the 1980s. But, a film about extreme right-wing groups in the United States in the 2020s will immediately alert audiences to the attack on the American capital, January 6th, 2021. And, in fact, at the end of the film, the link is made.

The name, The Order is taken from the 1977 novel by William L.Pierce, the Turner Diaries, seemingly intended for younger readers but something of a manual for an uprising against the state, and how it is achieved in stages. This book features in the film highlighting its influence. Already, in 1988, there was a film about these events, Betrayed, directed by Costa Gavras and featuring Tom Berenger and Debra Winger. Early in 1989, the book on which this film is based was published. Its title, The Silent Brotherhood: Inside an American Racist Conspiracy, by Kevin Flynn and Gary Gerhardt. Kevin Flynn is noted in the credit as a consultant for the film.

The film has been directed by Justin Kurzel, well noted for his crime dramas and his skill in portraying mentally and emotionally disturbed men – especially in Australia, The Snow Twown, The True Story of the Kelly Gang, Nitram (and not forgetting his Macbeth).

The framework of this story is the investigation by FBI agent, Terry Husk, a fine role for Jude Law, one of his best (his role before this one as the ageing Henry VIII in The Firebrand). He works in collaboration with an earnest young deputy, Jamie Bowen, played by Tye  Sheridan, and a local agent played by Jurnee Smollett. The setting is Washington State – so much of the scenery, the mountains, filmed beautifully as background.

At the centre of the brotherhood is a young enthusiast, all-American, Bob Matthews. This is a very interesting and different performance by Nicholas Hoult who resembles closely the photos of Matthews himself, at times baby faced, an innocent despite the prejudices and violence he is spouting (scenes of his intensity in close-up looking like Nicholas Hoult more than 20 years earlier as a boy in About the Boy). The actual Bob Matthews, we find there is a strong resemblance between him and Nicholas Hoult.

Terry Husk has his own personal problems, his long career, sometimes an intense recklessness in pursuing the criminals. Matthews has the support of his wife, of his pregnant girlfriend, of a lot of the Proud Boy types of the 1980s, moving to bank robberies, explosions to distract from the robberies, a Bricks job on the highway, building up his coffers to start a militia. The screenplay also emphasises the biblical underlining of this Brotherhood, the transfer of promised land to the Jews (to be taken away from them), to the white Americans who see themselves as God’s chosen people, ready to rise up against any immoral society and a two-permitting government.

The pace is strong. The characterisation powerful. The issue is more than challenging. And, while it is a reminder of movements in the past, The Unibomber, bombings in Oklahoma, Waco… It is a sober alert to movements, beliefs, conspiracy theories in Trump’s America.

1. The title, the reference to the book, The Turner Diaries, the manual for insurrections and the group called The Order?
2. The film based on fact, the 1980s, the book basis for the film, The Silent Brotherhood? The popularity of white supremacist groups at this time? The Reagan era? The social standing of members of the group, white groups, the biblical basis, church preachers, neo-Nazi attitudes, the active leaders and insurrection, turning to crime to finance militias?
3. The settings, Idaho, Washington state, the beauty of the mountain scenery? The city sequences, the streets, banks, porn cinema and explosions, homes, the church, the highways and robberies?
4. The focus Terry Husk, Jude Law’s performance, FBI background, moving to Idaho, the phone call and the separation from his wife and daughters, his long experience, long friendship with Joanne Carney, working with her, her authority and jurisdiction, tested by Husk and his taking initiatives? The work together, investigations?
5. The focus on the group, Richard Butler, as a church minister, his ideology, preaching, the Bible, white supremacist presuppositions about the land, anti-Semitic, swastikas and neo-Nazi attitudes? His meetings with Bob Matthews, the threats, Matthew standing up to him at the gathering, his withdrawing?
6. Bob Matthews, his background, age, manner, relationship with his wife, relationship with his girlfriend, her pregnancy? His friends, their thug background? Interviewing the Mexican who pretended he was Spanish for racial supremacy? His hold over the men, his leadership? Later, the arrest and Husk interviewing and getting information?
7. The decision to rob banks, the money, for themselves, but for funding a militias? The sequence of the robbing of the bank, intimidation, the driver and the getaway, his gun on the policeman outside, their exhilaration? Matthews and his wife and his girlfriend? The planting of the bomb in the cinema, a distraction, the robbery of the van? The bigger plans, the Brinks van, on the highway, the hold-up, cars on the highway, the chain across the road, their effectiveness, the dangers, guns and shooting, escape?
8. The local police, the chief, rather more easy-going, Jamie Bowen, his earnestness, relationship with his wife, children? Giving information to Husk? Husk relying on him, going to the motel, the stakeout, the gun, Jamie freezing, Husk and his reaction? His change, becoming more involved, going into action? Husk and the interview with his wife and her fear of him? The confrontation, the shootout, the chase, Jamie shot, his death? The funeral, Husk, Jamie’s wife?
9. The focus on Bob Matthews, his personality, relationships, his plans, his wife, unable to have children, the young girlfriend and the birth of the child, the money for them? Husk and his interview, getting information, the location for hide out?
10. The impact of the church gathering, Butler speaking, Matthews intervening, powerful speech, bigotry?
11. The hideout, the thugs, guard, the FBI attacked, the siege, the shooting? The fire, Bob Matthews staying, Husk going into the building, withdrawing, the collapse of the building, Matthews’ death?
12. Husk and his achievement, Joanne Carney and her work, the regrets for the death of Jamie Bowen? The atmosphere of uprisings in the 1980s?
13. The final information, the references to January 6th, the siege of the Capitol, The Proud Boys and other groups, imprisonment, President Trump pardoning them – and the future during the second Trump presidency?

NOSFERATU

US, 2024, 133 minutes, Colour.

Lily-Rose Depp, Nicholas Hoult, Bill Skarsgaard, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, Simon McBurney.

Directed by Robert Eggers.

Nosferatu was the title of the early film version of Bram Stoker’s Dracula, 1922, Germany, vivid black-and-white photography, angles, framing, Expressionist. The title was also used in 1979 for Werner Hertzog’s version of the story and tribute to the 1922 film. Now, a 2024 version, once again the tribute to the 1922 film, not only tribute but incorporating many of its visual aspects, and directed by Robert Eggers, only a few films so far in his career, but atmospheric, the Witch, The Lighthouse, The Northman.

Since the 1920s, there have been Dracula and vampire films every decade, some serious, many British, some parodies, even the recent Renfield with Nicolas Cage’s Dracula, also featuring Nosferatus, Nicholas Hoult.

We are in Germany, 1838, wonderful recreation of the town, the streets and ambience, the homes, elegance. There is a very strong supporting British cast including Aaron Taylor-Johnson, Emma Corrin, Ralph ineson, Simon McBurney. There is also a lot of strong dialogue throughout, the point of view of the rationalist who does not believe in the supernatural contrasting with those who do believe and those who are pragmatic faced with unexplained phenomena.

The question can be raised, why another Dracula film in 2024. And will it contribute to an appreciation of the Dracula and vampire legends?

The first attempt at an answer is to consider this film as a drama apart from the horror. The focus is on a young woman, Ellen, Lily-Rose Depp in a striking and physically and emotionally demanding performance. She dreams, has mystical experiences, is in love, makes a pact – which, in fact, will be a diabolical pact. But, she has the possibility of living a normal life, marrying Thomas (Nicholas Holut), hope that he will support and save her. But, he is commissioned by his manager to travel to Romania to negotiate with a mysterious Count Orloc who wants to buy a Castle in the German town. Ellen is fearful as Thomas leaves, and rightly so…

There is mysterious drama, Thomas finding himself in a strange village, superstitious villagers, and then his encounter with the Count.

And the second attempt at and some is to consider the film as horror. The atmosphere at the castle is more than eerie, the suggestions of the malevolent presence of the Count, his face, his behaviour and cruelty, his threats, diabolical consequences. Is played by Bill Skarsgaard as monstrous Some direct horror scenes but always the sense of horror menace. And, when Thomas returns home, the psychological disturbances in Ellen and her erratic behaviour, the count killing his friend’s wife and child, the discussions with an expert (Willem Dafoe) and the explanations of vampire behaviour. And, as well, the town is besieged by a plague of rats. And, Ellen’s disturbed dreams, erotic menace and horror, the unmasking of the Count.

And so, we can ask what are the comparisons with other versions of the story, how well these variations work as drama and horror, and how we are immersed in a world of evil destroying hope and love.

1. The literary tradition of Dracula and Nosferatu, the late 19^th century, Bram Stoker’s novel? The cinema tradition, the 1922 version, the English language tradition of Dracula, serious films, horror films, comedy and parodies? Werner Hertzog and Nosferatu 1979, homage to the 1922 version? This 2024 version, homage, reworking the particular perspectives of the writer-director?
2. Audience familiarity with the story, the traditions, the variations? This version changing the names of the characters, the German city? Drawing on the basic ideas and themes from Bram Stoker and the Nosferatu films?
3. The style of filmmaking? The importance of colour, colour grading, black-and-white, vivid colour, scenes tinted, unsaturated colour, but sometimes with bright highlights? The overall impact of this colour experience? The framing of the film, the angles, the homage to the 1922 version, using its styles? The style of the dialogue, old classical style, all, sometimes arch and artificial, placing the audience in the period, Germany, 1838? The film presented as a modern interpretation of old filmmaking styles?
4. The framework, Ellen, young, the focus on her face, her calling out to the vampire to come to her? Her age, her commitment, her dreams, her melancholy, psychological states? The years passing, her marriage to Thomas, happiness, yet her melancholy, fears, love, his going away, her anxieties? Staying with Richard and Anna? Her dreams, her moods, their concern, a sense of what was happening to Thomas while away, the coming of the mysterious lover? The doctor, his concern, treatment, seeking out of Professor von Frantz, his diagnosis, treatment? Further dreams, the return of Thomas, the sexual encounter and her wanting love, the continuing menace of the mysterious shadow, the shadow coming to the house, overcoming her, the sexual encounter, the sun rising, her commitment, his sacrificing himself for her love?
5. The title, the focus on the vampire, the estate agent, Knock and his eagerness, Count Orloc wanting the house, sending Thomas, the buildup of financial advantage, for his marriage? Knock, his madness, in servitude to Nosferatu, his madness, in the cell, confrontations, killing the guard, the interview with the professor and the doctor? Death? The plague?
6. Count Orloc, in Ellen’s visions, the Shadow, skeletal, the long fingers and nails, Thomas arriving at the village, the village people and their fears, the atmosphere, singing and dancing, yet warnings, was going to the Castle, walking in the snow, the carriage, his experience in the Castle, overwhelmed by the count, violence, blood, his debilitation, escape, taken by the nuns, the Orthodox religious ceremonies, his leaving, out of the power of the Count, his return, debilitated, with the doctor, the professor, Richard, Anna’s death, the plague?
7. The Count, the voyage, in the container, the sailors, the Captain, the rats, the plague, the deaths, the ship arriving in the Port, the dispersion of the rats, the plague and deaths, deaths in the street? The Count, visiting Anna, her being pregnant, the blood? His attack on the two daughters, the deaths, Richard and the burials? The mausoleum and his visits?
8. The doctor, his concern, medical help, friendship with Richard, the reputation of the professor, going to visit him, persuading him to join in? The professor, his personality, reputation, researchers, the occult? The visits to Anna? The visits to Ellen? Thomas’ return? Richard and his scepticism?
9. Richard, friendship with Thomas, lending the money, Richard and his wife, the family, the boisterous two daughters, in the shipping business? His scepticism about the professor, the support of the doctor, his narrations, the death of the family, the burials?
10. The buildup to confronting the Count, the three nights, his approaching the town, coming to Ellen, her trying to resist? The scenes of his possession of her, her not being herself, her face, the town, Thomas and his shock?
11. Thomas and his determination, hurrying to the mausoleum, expecting the vampire, discovering Knock, his madness and death, through the heart?
12. The hurrying back, the encounter with Ellen, the sun rising, remains of the creature, Thomas and his grief, in the final image of Ellen and the remains of Nosferatu?

THE GARFIELD MOVIE

US, 2024, 101 minutes, Colour.

Voices of: Chris Pratt, Samuel L.Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillen, Snoop Dogg.

Directed by Mark Dindal.

Garfield the cat.

Once upon a time, the 1970s, Jim Davis created the cartoon, soon on television, computer games, Garfield. Then upon a time, 20 years ago, two feature films with Bill Murray as the voice of Garfield. Now upon a time, 2024, a big budget animated feature with a strong voice cast led by Chris Pratt as Garfield.

Garfield has been described as “greedy, but with a heart of gold”. On the evidence of this film, “gluttonous” (and the fastest gluttony we have ever seen on screen) would be more appropriate. And, as regards the heart of gold, this is not immediately evident, Garfield being very smug and self-satisfied – though, a bit of a spoiler, he is finally redeemed, glimpses of his potential heart of gold.

The story does go back to Garfield when little, abandoned by his street-cat father, Vic (Samuel L.Jackson), and the hungry little creature plaintive at the Italian restaurant window where his about-to-be strong friend, Jon (Nicholas Hoult) is having a lonely meal, opens the window, in comes Garfield and the pizza immediately and instantly munched! The beginning of a beautiful friendship.

Jon and his engaging little dog, Odie, have long been popular in the cartoons. Jon, is the most tolerant of owners, and Odie the most generous of friends, setting up Garfield with heaps (understatement) of food, comfortable armchair, watching Catflix, not a care in the world.

Where could this story possibly go – actually, into quite a lot of action and plot, the story Vic and his entanglement with a British vanity ring cat, Jinx (Hannah Waddingham), a plot to steal a milk truck, a tough police chief called Marge Malone (Cecily Strong), a bull in love (Ving Rhames) and Jinx’s thugs. In fact, plenty of action, the truck getaway, police pursuit, and everyone on a train hurtling towards a bridge.

The emotional key to the story is Garfield’s resentment towards his father leaving, his discovering more of the truth about Vic, reconciliation and happiness – and plenty of food with Jon discovering that he had paid thousands of dollars for drones with food to repel the enemy on the train!

(Which means that this reviewer enjoyed a lot more of Garfield than anticipated!)