Displaying items by tag: Pedro Pascal

GLADIATOR II

US, 2024, 148 minutes, Colour.

Paul Mescal, Denzel Washington, Pedro Pascal, Connie Neilson, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, Matt Lucas, Tim McInerny.

Directed by Ridley Scott.

While sequels are often welcomed by an audience, they also often find it difficult to maintain the standard of the original film. Which is the case here. Gladiator won the Oscar for Best Picture in 2000 as well as an Oscar for Russell Crowe in his role as the strong Roman warrior, Maximus. She is one was a triumph for prolific director, Ridley Scott.

It was something of a surprise when plans were made over 20 years later for this sequel. The focus is on the son of Maximus who died in the first film, his son with Lucilla, the daughter of Marcus Aurelius. He is Lucius, played by Paul Mescal, seen first quietly living in North Africa, the Romans attacking under the leadership of General Acacius, Pedro Pascal, the North Africans defeated, taken to Rome, sold as slaves, many commandeered as gladiators.

Audiences will see the parallel scenario with the original film, the provinces, Roman warfare, prisoners, slavery, the Colosseum, gladiators, harsh life, brutality in the arena, political intrigue.

As with the original film, Gladiator II looks quite spectacular, special effects, naval battle sequences, extraordinary fights in the Colosseum especially against monstrous effect monster monkeys, and the recreation of a battle sequence in the Colosseum. Many of these scenes are very violent, and some of them exceedingly brutal in the impact. Sometimes we might wonder, as we watch the brutality of the fights and audience excitement that we are very much like these vicious Romans and their control of human life with thumbs down.

As with the Emperor, Commodus in the original film, there are two rather despicable emperors this time, the twins Geta and Caracalla (Joseph Quinn and Fred Hechinger) as symbols of the decline of the Roman Empire. Returning from the original film is Connie Neilson as Lucilla, daughter of Marcus Aurelius, mother of Lucius, recognising him, trying to make contact, eventually sacrificing herself for him. She is also in a relationship with General Acacius. One of the difficulties for the impact of the drama is that while Paul Mescal is exceedingly serious and single-minded as Lucius, he is not charismatically engaging for the audience a little in here and charm, while Pedro Pascal as Acacius does have leadership charism.

But, the big difference for this drama is the presence of Denzel Washington as the former slave with political and power ambitions, based on an actual character, Macrinus, a master in buying slaves, controlling the gladiators, with entree to the Emperor’s, deals with corrupt senators, waiting for his power grab moments, unscrupulous with his violence, even with the Emperors.

Given the limitations, the repetitions in parallels with the original, and the single-minded sternness of Paul Mescal as Lucius, audiences who enjoy Roman epics, will enjoy Gladiator II as well.

1. The impact of the original film? Its legacy? So many years for a sequel? The continuity? The scenario of the first parallel scenario of the sequel?
2. The work of Ridley Scott, epics? And audience response?
3. The settings, North Africa, the city, the battles, the Navy, the Roman conquest? The road to Rome? The entry? The Colosseum, the quarters for the gladiators? The animals? The use of the Colosseum, fights, naval battles? The royal palace? Homes? The market for gladiators? The musical score?
4. The links with the original, the mentions of Maximus, the flashbacks and the appearance of Russell Crowe? Connie Neilson as Lucilla, her relationship with Maximus, with, discovering with Lucius? Derek Jacoby as the senator?
5. Africa, Lucius and his life there, relationship with his wife, warrior, silent about his identity, the local authorities, the attack of the Romans, the details of the battles, strategies, defeat? Imprisonment? The death of his wife, seeing her pass into the next life, grief?
6. The prisoners going to Rome, the entrance to the city, the legions and the triumphant entry, general Acacius, his relationship to Lucilla, his tribute to the Senate, their suspicions, their wanting him to go on further conquests? His own response, with Lucilla, his significance in the revolt against Rome, his legions at Ostia, the sending of the message, his being trapped, sparing Lucius, his own death? Lucilla’s grief?
7. The role of Macrinus, dented Washington’s presence, slave, freed, ambitions for the Senate, ruling Rome? The auctions of slaves, seeing Lucy is in action, his talents, strength, perseverance, purchase? His master of slaves and the treatment of the slaves? The training, the accommodation in the below the Colosseum? The fight in the Colosseum, the monstrous monkeys and battles, UCS and his survival? The response of the crowds, the emperors, thumbs up?
8. The personality of Lucy is, silent about his identity, his anonymity in Africa, his relationship, the defeat, the death of his wife? With the other slaves? With the master of slaves, his being tested? With Macrinus? With Lucilla, her visit, his identity, his resistance? His eventually changing, the encounter with Acacius, the fight in the arena, spared, acacias death?
9. The background of the emperors, their status, twins, effete life, games, the court, the worms? The attitude of the Senators? Acacius? Macrinus and his setting them up, the death of Geta?
10. Arrow colour, wilfulness, childish, nominating his monkey as senator?
11. Lucius, behind-the-scenes, the ex gladiator, observing, supportive Lucius, his sending him to Ostia to bring the troops?
12. The buildup, the taking of Lucilla, in the arena, her death, the many troops converging on Lucius?
13. The troops arrival, Macrinus and his control, his deals with the senators, the corrupt senator, the gambling, the meeting of the senators, Gracchus and the past, and government, decline? The death of Gracchus?
14. The troops arriving, Lucius and his a leadership, the confrontation with Macrinus? And the future?

THE WILD ROBOT

US, 2024, 101 minutes, Colour.

Voices of: Lupita Nyong’o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Matt Berry, Ving Rhames, Mark Hamill, Catherine O'Hara.

Directed by Chris Sanders.

Fans of Peter Brown’s 2016 illustrated novel, The Wild Robot, will be delighted to see this film version. In fact, delight has been the response of audiences – and also of many critics.

We are definitely in the 21^st-century with an animated family film focusing on a robot – although, Peter Brown in his detailed blog on the Internet about his writing his book over a period of eight years, has many interesting observations about origins of writing about robots as far back as the 1920s. But, to have a children’s film focusing on a robot, very much of our times. (And these years there are many films for adults with dramatic stories about androids and humans being served and protected by them as well as stories of betrayals.)

In trying to describe the perspectives of The Wild Robot, it could be said on the one hand that the picture of nature, animals in the forests, their personalities, is in the Disney tradition, especially of Bambi. And, on the other hand, the picture of robots, technology, artificial intelligence, is very much a contemporary perspective.

And, a robot in the wild, a robot whose name comes from her code initials, abbreviated to Roz, and the machine a female voice by Lupita Nyong’o. A shipwreck, Roz stranded, re-booted, the strong sense of mission (and her repeating her promotion instructions aloud). Needless to say, the wide range of animals, all enjoyably portrayed, do not respond well, fearful.

But, that is just the beginning. Two engaging characters emerge, a little Gosling bereft of family who gets the nickname Brightbird (Kit Connor) and an engaging fox, Fink (Pedro Pascal enjoying himself) whom nobody likes but who becomes a great favourite with the audience.

In fact, there is plenty of plot, Roz teaching the Gosling how to lie while looked down on by the rest of the geese; the bird migration led by the wise Longneck (Bill Nigh); some misunderstandings, some reconciliations, and Roz finally affirmed by the animals as she is able to help them in a very cold hibernation.

And, there is more with the robots, contact with the company, some ruthless executives, wanting to control Roz. While robots have no emotions, Roz learns more and more from her animal friends, standing up for herself and for them.

The film has been written and directed by Chris Sanders, best known for The Crudes series and, especially, charming action story, How to Train Your Dragon. Here he has been able to appeal to younger audiences with a great deal to interest and entertain an adult audience.

1. Family-friendly animation, style, story, characters? Musical score?
2. 21^st-century, robots, artificial intelligence, techno developments? And memories of past animation, animals, the forests? The combination?
3. The situation, the future, robots, the storm, the destruction, Roz stranded, programmed, promoting her services? The female voice? The encounter with the bear, the crushing of the geese, the survival of the Gosling, befriending it, training it, calling it Brightbill? The Fox, Fink, on the outer, yet bonding, helping with Brightbill? The possum, guides of how to mother they Gosling? But fear from the other geese?
4. The range of animals in the forest, memories of Disney animals and Bambi? The fear of Roz? The importance of Brockville learning to fly, to swim, the training, eventual success?
5. Brightbill, personality, growing, succeeding, information about Roz and the loss of his family? Hostility? The preparation for the migration, the role of Longneck? Brightbill and his agitation? The geese flying, the storm, taking refuge in the robot headquarters, the clashes and persecution, Brightbill not afraid, leading them to safety? Longneck sacrificing himself?
6. The hibernation, the animals going into hibernation, Roz helping, their bonding with Roz? The squabbling, fights, traditions, Fink and his mediating? The episode with the bear?
7. Roz, trying to reactivate, the links with the headquarters, the response at headquarters, the head, sending robots, locating Roz, the attack on the animals, the fight back, the fire?
8. The geese returning, Brightbill, reconciliation with Roz?
9. Roz, agreeing to leave, going back to the headquarters, working in the greenhouse, Brightbill and his visit, but her still having her emotional responses?
10. The family friendly story about technology, operation by exploiters, but possibilities for harmony and peace?

STRANGE WAY OF LIFE

Spain, 2023, 31 minutes, Colour.

Ethan Hawke, Pedro Pascal, Mona Rios, George Steane.

Directed by Pedro Almodovar.

Fans of Pedro Almodovar and audiences around the world would not have been expecting a Western from him. But, here it is, beautifully filmed in Spanish locations reminiscent of the spaghetti westerns, the recreation of the town, the sheriff and his duty, the pursuit of the killer and three guns confrontation. It was written in English, the second English language short film from Almodovar, the first being The Human Voice with Tilda Swinton. He then went on to make the full-length feature in English, The Room Next Door, with Julianne Moore and Tilda Swinton.

Almodovar’s own view of his film: A queer Western, in the sense that there are two men and they love each other. It's about masculinity in a deep sense because the Western is a male genre. What I can tell you about the film is that it has a lot of the elements of the Western. It has the gunslinger, it has the ranch, it has the sheriff, but what it has that most Westerns don't have is the kind of dialogue that I don't think a Western film has ever captured between two men.

Film opens with a mood setting: The title is inspired by the Portuguese poem song by Amália Rodrigues called "Estranha forma de vida" (Strange Way of Life), released in 1959 and sung by Brazilian singer Caetano Veloso and lip-synced by actor Manu Ríos at the beginning of this short film.

The film boasts two strong leads with Ethan Hawke and Pedro Pascal, Pedro Pascal riding into town to confront the sheriff and to save his son who has been accused of the murder of the sheriff’s sister-in-law, a woman with a bad reputation. Ethan Hawke is the sheriff.

The film has, as Almodovar indicated, quite a number of themes.

There is the variation on the western themes, the past gunfighters becoming respectable, working on the land or becoming law enforcers. In fact, the two have not met for 25 years, giving up their gunfighter past, Silver opting for the land, Jake for the law.

Then there is the issue of sexuality and sexual relationships, the flashback to the two young men in years gone by, with a number of señoritas, but then finding the attraction strong between the two of them. And Jake, breaking off the relationship. The impact of the two meeting again, Jake wary, Silver earnest, and their spending the night together and its consequences.

However, Jake is taking the law seriously, Silver leaving to go to his sons Homestead and warn him away, and Jake in pursuit.

There is the theme of the father trying to protect his son while angry and disgusted with him, giving him the chance to escape to Mexico and never come back. This involves wounding Jake but then attending him for his recovery.

In the final theme, Jake angry but convalescing, Silver reminiscing on the final words to give meaning to the film, that they could have spent a life together, especially with caring for each other.