Displaying items by tag: Pierce Brosnan

THE KING OF KINGS

South Korea/US, 2025, 100 minutes, Colour.

Voices of: Kenneth Branagh, Oscar Isaac, Uma Thurman, Pierce Brosnan, Mark Hamill, Forest Whitaker, Ben Kingsley, Jim Cummings, Roman Griffin Davis.

Directed by Seong-ho Jang.

Yes, the Gospel story. However, this film is an animation-dramatisation of a story by Charles Dickens, a story he wrote in the 1840s for his family, recited every Christmas by the author and read aloud in succeeding family generations, Dickens forbidding publication. However, in 1934, the family made it available over 60 years after the death of the author.

At the beginning of his story, Dickens wrote: My Dear Children, I am very anxious that you should know something about the History of Jesus Christ. For everybody ought to know about Him. No one ever lived who was so good, so kind, so gentle, and so sorry for all people who did wrong, or were in any way ill or miserable, as He was.

This film was made by a South Korean animator, Seong-go Jang, in Korean studios but uses the voices of some very talented English speakers, British and American.

Dickens told the story to his family and in this film he tells it to his younger son, Walter, quite a spirited boy, absorbed by stories of King Arthur, swords and dragons. And he disrupts his father’s presentation on stage of Scrooge and A Christmas Carol.  s Dickens’ sympathetic wife urges him to tell the Gospel story, the young boy becoming more and more interested, initially wanting kings and dragons, but drawn into the story and following the person of Jesus. And, all the while, accompanied by his mischievous cat.

Which means that this is definitely a film for the younger audiences, but could be a pleasure for the whole family.

The animation style is vivid, the characters, the backgrounds, sometimes gently quiet with Jesus healing, with the apostles, at other times very vivid, especially Jesus walking on the water in the overwhelming storm. A great deal of the time is given to the Last Supper, the agony in the garden, Judas betrayal, uses trial and Caiaphas and Pilate, the crucifixion. Audiences who enjoy animation stories like this style and treatment.

But, a key element of the screenplay is having the young boy enter into all the action, observing close-up, being with Jesus, listening, watching, admiring, dismayed… And, at times, Dickens himself comes with his son into the action, close-up, and all the while with Kenneth Branagh’s narration as Dickens. The device of having Walter within the Gospel story is a great means for younger audiences also entering in, identifying, learning about Jesus and his story with a devout theme-highlighting commentary by Dickens.

St Ignatius Loyola founder of the Jesuits, would probably endorse this film. In his Spiritual Exercises, he urges those making retreats, or at any time with gospel contemplations, to enter into the scene, to be there, to experience the Gospels. And, a great challenge to those on retreat is to ask them where they are in the scene, at a distance observing, or very close to Jesus. This film dramatises what this closeness could be like.

The voice cast is very strong, not only Kenneth Branagh, but Uma Thurman as his wife, Mark Hamill is an extraordinarily rambunctious and King Herod pantomime-like , Ben Kingsley is a thundering villainous high priest, Caiaphas, Pierce Brosnan is a disdainful Pontius Pilate – and Oscar Isaac is Jesus.

In 2000, the animated film, The Miracle Maker, with Ralph Fiennes as the voice of Jesus, was very successful in portraying the Gospel stories. Now, The King of Kings is a very welcome addition.

1. How successful as a Gospel film? This, the range of the Gospel episodes?
2. Charles Dickens’ story, for his family, here for his son, the urging of his wife?
3. The style of animation, from South Korea, the quality of the voice cast?
4. The opening, A Christmas Carol, the story of Scrooge, Dickens in the theatre, interrupted by his son, Walter, King Arthur, dragons and sword, stubborn in reacting to his father, the cat, all the disruption, the pages scattered and torn? The audience watching, Walter and the cat? Dickens and his response?
5. Dickens, his patient wife, urging Dickens to tell the story of the Gospels? Dickens own appreciation of the Gospel story, his admiration for Jesus, the tone of his narrative in telling the story?
6. The visuals, journey to Bethlehem, the appearance of the angels, shepherds and magi, Herod and his overreaction, the indications of persecution of the innocent children, the flight into Egypt, Jesus growing up, the return to Galilee, the finding in the temple, Jesus emerging as an adult.
7. The device of having Walter go into the action, with his cat, gradually understanding, becoming involved, emotions, observing and then becoming very close to Jesus?
8. The familiar gospel sequences of Jesus’ public life, the elaborate temptations in the desert, the choosing of the apostles, Peter and the fishing, the healing of the crippled man, the casting out of the Demon, Jesus’ encounters, Mary and the request about Lazarus, the raising of Lazarus, the anointing of Jesus, the complaints of Judas, the entry into Jerusalem, building up the picture of Jesus? Especially the dramatisation of Jesus walking on the water, Peter and his walking, drowning, appeal to Jesus?
9. The Last Supper, Agony in the Garden, Judas and his deal with kindness, the reaction of the scribes and Pharisees, planning to kill Jesus, this, the emphasis on healing the servant’s ear with Peter and the sword, the trial and Caiaphas thundering, rousing the crowd, the choice between Barabbas and Jesus, Pontius Pilate washing his hands, scourging, crowning with thorns, the way to Calvary, the crucifixion, the thieves and the good thief, Jesus’ death? The importance of the resurrection?
10. Dickens entering into the scenes with his son? The effect of the story on Walter, sharing it with the other children?
11. The telling of the Gospel stories with an appeal to the children’s audience and to families?

THE LAST RIFLEMAN

Ireland/UK, 2023, 95 minutes, Colour.

Perce Brosnan, Clemence Poesy, John Amos, Jurgen Prochnow, Ian McIlhinney, Samuel Bottomley.

Directed by Terry Loane.

This is a film which will entertain and inspire older audiences. It is an Irish-English production, focusing on an Irish character, a rifleman in World War II, and D-Day, some sequences of the fighting, the confrontation with the Germans, fear and heroism. While his friends have died, at the opening of the film, he is, as he states, 92 ¾. He is in an aged care home, with his wife of 68 years who has dementia, who dies.

Audiences who have seen Michael Caine and Glenda Jackson in the story based on the same characters and events, The Great Escaper, will note the similarities. But, of course, there are differences, English and Irish settings, various difficulties on travelling to the D-Day celebrations, the encounters along the way, the role of the media, the acclaim for both The Great Escaper and The Last Rifleman.

A great interest is the presence and performance by Pierce Brosnan, acting more than 20 years older than he is in real life, effective make up, a dignified personality, loyalty to his wife, loyalty to the memories of his friend, deciding to go to the D-Day celebrations for the first time returning.

The film is entertaining in the various steps for his travels, train, cab, bus, hitchhiking in the truck, the ferry to Normandy. And, encounters along the way, an earnest young man with a love of the music of Ennio Morricone and a pleasant anecdote and themes from The Mission, a fussy lady with her medications on a train, a very cheerful woman truck driver, a helpful cab driver, and a French woman (Clemence Poesy) and her two children who are able to smuggle him across the channel.

There is also an encounter with a German soldier, Jurgen Prochnow, and some mutual reflections, an encounter with an African-American soldier played by John Amos.

This is a quietly were reflective film about war and its consequences, on relationships, love and sadness, the dignity of older age and coming to terms with the past.

1. Based on a memoir? (Comparisons with The Great Escaper?) Memories of D-Day, memories of war action, injuries and death? Living with the memories into old age? A story for the 21^st-century audience?
2. The Irish setting, the home for aged care, the rooms, dining room, offices? Travel in Ireland, cabs, buses, trains? The ferry to Cherbourg? The helicopter at the end? The French settings, the town, Normandy?
3. Artie Crawford and his story? The flashbacks, the friendship with Charlie and Maggie, the photos, the beach? The scenes of action, confronting the Germans, the British and the Irish, the casualties? Artie and his fear, behind the tree? Charlie and his concern, helping Artie, going ahead, Charlie’s death?
4. Artie, 92 ¾, in the home, waking, his room, going to Maggie, the 68 years of marriage, her dementia, feeding her the ice cream, her saying Charlie? His tenderness, the kiss, sitting in the room, the quietness of her death?
5. Artie, the letters and photos, writing the letter to Charlie? Inviting Charlie to the 75^th commemoration? The reality of Charlie’s death, Artie marrying Maggie?
6. At the home, the discussions with Tom, the D-Day 75 years celebrations, Tom and reading the paper, phoning the journalist, the confrontations with the authorities at the home?
7. Artie, the decision to go, packing, his health and medication, his age, sitting outside, the laundry van, escaping in the back of the van, £20 to the driver for directions, going to the station, the free travel for those aged, in the train, the lady with her medication, chatter, helping him? The delay in getting to the ferry? The assault by the young men? The help by the cab driver, the ride and the talk, the cabby’s tribute, no fee? In the bus, the young man, helping Artie to his seat with the case, the discussion, Morricone, the reminiscence that Artie met him in Verona with his wife, shook his hand, the playing of the theme from The Mission and Artie listening, the breakdown of the bus, Artie starting to walk, the young man with him, thumbing a lift, the French family refusing, the truck driver, the woman, the talk, Artie and his turn, diabetes, Coca-Cola and the sugar?
8. The problems at the ferry, his outdated passport, the authorities? Juliette and her family, the family holiday, her health? Returning home, the van? Hiding in the van, on board, giving him the room, his turn, the nurse and the doctors, plan to get him out, the van driver, Juliette picking him up, the friendship with the children, discussions about the ice cream, the seeing him on television and the boy excited? The farewell and his thanks?
9. The bus with the German soldiers, his attitude, some bitter memories, the conversation with the soldier, the reminiscences, gradual mellowing, singing A Long Way to Tipperary, the German and his young days, losing the war, discovering he was on the wrong side, the reconciliation, the German waving to the British troops and their waving back?
10. Artie, the tourism office, going to the restaurant, encountering the American and his granddaughter, the conversations and reminiscences, the medals, the death of the American’s brother landing on D-Day, mutual respect?
11. The journalist, given the story by Tom, flying to Paris, getting to Normandy, the tourist office, finding Artie, explaining the situation?
12. The ceremonies, Artie having to face the truth that he was the last of the riflemen, going to the cemetery, Charlie’s grave, the memories, the media, the helicopter ride, Charlie and the acclamation?
13. The sadness of the story, the nobility of the human spirit, age, dementia, the influence of the past, the possibilities of facing the past and facing the future, even in old age?

THE OUT-LAWS

US, 2023, 95 minutes, Colour.

Adam Devine, Pierce Brosnan, Ellen Barkin, Nina Dobrev, Michael Rooker, Poorna Jagannathan, Richard Kind, Julie Hagerty, Lauren Lapkus, Lil Rel Howery.

Directed by Tyler Spindel.

If Adam Sandler had been younger when this film was being made, he would have taken the central role. In fact, this comedy comes from his Happy Madison company and plays very much like one of his comedies.

Comedian Adam Devine takes Sandler’s place as Owen, pleasantly genial, bank manager, engaged to yoga instructor, Parker (Nina Dobrev.). He has very stuffy and suspicious parents, Richard Kind and Julie Hagerty. In fact, this film is noted for its star power, especially Pierce Brosnan and Ellen Barkin as the in-laws/out-laws, bank robbers. And Michael Rooker appears as the veteran FBI investigator.

So, there is some raucous comedy with the behaviour of the in-laws. And there are some serious tones with the in-laws/out-laws as the Ghost Bandits, bank robbers, teaming up with criminals, the effecting of a robbery, pursued by the FBI. Owen has his suspicions and confides them to his fiancee.

What happens is enjoyably complicated, giving information to the FBI and his being set up. However, criminals abducting his fiancee and demanding a ransom, his teaming up with the criminals for them to rob a bank mean twists. He hides in the vault, escapes, gets the money, returns to the vault. And the outlaws surrender.

Happy finale, the wedding, the in-laws able to come to the wedding – but Owen slipping a paperclip into their piece of cake for a further escape!

1. The title, an amusing pun?
2. From Adam Sandler’s company, tone, comic style, satire, broad comedy?
3. The American town, homes, banks…? Musical score?
4. The home situation, Owen and Parker, engaged, bank manager, yoga instructor, ordinary life? Owen as the young Adam Sandler style character?
5. The preparation for the marriage, the prospect of the in-laws arriving, Parker happy, unhappy? Owen’s parents, their harsh attitudes, ignorance, criticisms of Parker? The dinner, Owen and the issues of storage, plans? Rehan and the criminal listening in?
6. At work, the bank vault, the prank and freeing the victim, Owen’s help, knowledge?
7. The arrival of the in-laws, calling themselves Lily and Billy, the star power of Pierce Brosnan and Ellen Barkin? Breezing in, no explanations, the day out with Owen, the tattooes, drinking, the skydiving?
8. The bank robbery, Owen and the hangover, his noticing the clues, his growing suspicions about the Ghost Bandits?
9. Oldham, the FBI agent, pursuing the Ghost Bandits, his intensity?
10. Owen, his theories about his in-laws, confiding in Parker, her response?
11. Rehan, the meetings with the in-laws, the deals?
12. Owen, with Oldham, the truth, the set-ups?
13. The criminals, the abduction of Parker, the demands?
14. Owen, teaming with the in-laws, the discussions with Phoebe the bank manager, learning the details of the faults, the exits? His being locked in? The robbery, success, Owen escaping, yet getting the money, putting it back in the vault?
15. The arrest, Oldham allowing the couple out for the wedding celebrations, the surrender – but Owen putting the paperclip in the cake?