What Films Have You Seen Recently?

[nicholasrope]

Forever Purge

The Annual Purge is back and this time a renegade group decided to continue after it's supposed to finish therefore it follows some Mexican Ranch workers and their Bosses as they try to flee to Mexico. This felt like a Straight To DVD Sequel and it was but it did lay the foundations for the next Film.

Bloodsport II

Yes they did a Sequel LOL. Daniel Bernhardt is a Thief based in Thailand but after stealing the prize from Pat Morita (for the next Kumite), he is sent to a Thai Prison, where he is taught an technique by James Wong. He falls fowl of a Prison Guard (Who is part of The Kumite) and enters it himself. It's not bad, serviceable but not essential viewing.

[MacBlayne]

DUNE: PART ONE

I had a lot of hype riding on this one. Although I don't hate David Lynch's film, it was a case of too much in too little time. The TV series was terrible, lacking the scope and splendour needed to convey Arrakis. And great though the documentary was, Jodorowsky's Dune seemed like art director's dream more than an actual effort at being a film.

Others have tried to get Dune made into a film. Over a decade ago, Peter Berg pitched an all-action adaptation, that was as far-removed from the book as one could get. Only Ridley Scott's ill-fated attempt seemed like it would have been the one to get Frank Herbert's novel. In fact, Scott had even mused with the notion of splitting it into two parts. Unfortunately, a personal tragedy pulled Scott away.

So it seems fitting that Denis Villeneuve (possibly the strongest candidate at being Scott's successor for dark and epic imagery) would adapt the novel, and do it so successfully.

Dune is a visual and aural wonder. Villeneuve ruffled some feathers when he decried watching it on the telly over a cinema screen. Charges of elitism or trumped-up authorism were levied at him. Yet, when you see what he delivered, it is impossible to disagree. The space ships look like a hundred miles tall. The roars of compacted sand torn apart by giant worms rattle the ground around you. Hans Zimmer's magnificent score storms over you like an imperial march. Dune is the definition of enormity.

Even the actors feel like larger than life. Jason Momoa, Josh Brolin, and Dave Bautista tower over the audience. You half-expect them to leap out and decimate half of the audience. Toxic bile appears to gurgle out of Stellan Skarsgard's Baron whenever his bloated throat crackles vague threats. And Oscar Isaac just commands the audience's respect and attention whenever he is onscreen.

It is a bit unfortunate for Timothee Chalamet and Rebecca Ferguson to be put against such dominating performances. It's not their fault, as both Paul and Lady Jessica gain their strengths in the latter part of the book. Chamalet and Ferguson do a fantastic job at conveying how lost and confused they are, but I can see why some audiences may not be taken by them.

Do I have any other niggles? Not really. Like Scott, Villeneuve is a filmmaker that often overlooks plot in favour of mood and atmosphere. Dune is no exception, with Villeneuve preferring to build suspense and intrigue through shadows and whispers rather than exposition. I honestly love this type of stuff, but I can imagine those who loved the intricate plotting and political backstabbings of the book being aghast at this.

Watching Dune on the big screen is like being taken to Arrakis. You can almost taste the spice in the air. You can feel the sand under the nails, the dryness of the throat, and searing heat on your neck. It's hypnotic, enthralling, and mesmerising. Probably the film event of 2021.

[Demdike@Cult Labs]

Excellent review, Mac.

[Nosferatu@Cult Labs]

Superb review, MacBlayne. It's almost enough to get me to go to the cinema.

[gag]

All I’ve seen so far is good reviews of Dune, so might go during the week and see it on big screen.

[MacBlayne]

THE LAST DUEL

One cannot but admire the sheer balls of Ridley Scott when watching The Last Duel. An 18 certificate, 150 minute ultraviolent medieval epic that deals with uncomfortable subject material, with a price tag of over $100 million. Disney executives were probably hiding under their desks when Scott rolled in with this.

The Last Duel is tracking to be one of the biggest box-office bombs of all time. Of course, it was never going to be a commercial success, but the sheer loss of money has probably doomed it to forever being a financial punchline of the COVID-19 pandemic.

Which is sad, because The Last Duel is a challenging experience that has Scott firing on all cylinders. Much has been made about how Scott seems to focus more on the incredible violence and his male stars, but that ignores what Scott is attempting here. The Last Duel is not a rape-revenge thriller between two former friends, nor a dark melodrama about the repercussions of sexual assault. Instead, Scott offers a unique male-perspective on the portrayal of rape.

By employing a structure similar to Rashomon, Scott portrays the crime from three viewpoints. With the first story, we are presented with the husband's (Matt Damon in perhaps his finest performance). The rape is not shown, but told. Damon is shown to be kind and benevolent, and is quick to defend his wife when told of the crime. However, there is a sour undercurrent to this story, one that makes you wonder if Damon is laying out of all the facts.

The second story confirms this, as it follows the rapist (Adam Driver). Here, Damon is a whining oaf, constantly crying about how he is always shortchanged in favour of Driver. Where Damon is self-important, Driver is more light-hearted. The only thing Damon has going for him is his downtrodden wife (Jodie Comer). She's beautiful and intelligent, the opposite of Damon. In fact, she's probably closer to Driver, which is what attracts him to her. Driver immediately begins a seduction campaign to woo her, which culminates in his arriving to her home, and taking her in passion.

Although this scene has Comer enjoying the affair, there is a very queasy element to it. Driver uses language that brings a sinister tone. He informs her that he enjoyed it as much as her, and not to tell her husband and ruin their chances at another affair.

Said disturbing language continues after Ben Affleck's (possibly the best actor in this) Count informs Driver that he has been accused of rape. Driver protests, claiming it was a consensual affair. Although when pressed by Affleck, Driver states that she mildly protested, but that is expected of a woman.

If you were in anyways doubtful of the rape in the second story, the third story, told from Comer's perspective. There is no doubt about what we are seeing here. It is a stomach churning five-to-ten minute sequence that, while not as brutally violent as Irreversible, captures the sense of hopelessness of the crime. As uncomfortable and hateful as such a scene is, it is extremely important to what Scott is doing.

The Last Duel is a meta-commentary about the use of violence against women to frame the story of men. If we were to expand Damon's story, then it would have been a standard revenge film in which the hero saves his wife. If we were to expand Driver's story, it may have been an erotic thriller that harkens to the glory days of Joe Eztherhas (Jagged Edge). What's intriguing about both of the first two stories is how they have weird jumps in time, and how their characters can switch from affable to violent thug from one scene to the other. Almost as if somebody is telling fibs.

But Comer's story has no unusual edits, or changes of character. Driver is a creepy, odious stalker who doesn't understand bounderies. Damon is a brutal thug, who isn't shy about sexually humiliating his wife either. It's a brutal expose of violence and sexuality in the male gaze. Once the titular fight happens, and despite all the thrilling staged action, it is hard to root for anybody. It's two twisted examples of toxic masculinity duking it out, and whoever wins, women will suffer from it.

The Last Duel is not easy viewing. Although it does possess a surprising hilarious streak of humour, and Scott's trademark gorgeous visuals, and his strong handling of action, it challenges viewers (particular males) to consider the role of women in films like this. Scott is 83 years old, but this proves he working on a level filmmakers half his age can only dream of. Highly recommended, but just be aware it earns its 18 certificate.

[Nosferatu@Cult Labs]

Another superlative review of a film I really want to see, MacBlayne.

[Demdike@Cult Labs]

I had preconceptions that The Last Duel was a historical action epic on the lines of Kingdom of Heaven.

The story of a rape from three angles holds no appeal to me. It's the whole repeating the same sequence stuff. I never like it. Saw an episode of Poirot recently that did something similar regarding a murder. It became tedious. Same goes for that bombing film with Dennis Quaid several years ago, Vantage Point.

I have a strong dislike of Adam Driver too. Probably because of that pathetic villain he played in Disney Wars.

[trebor8273]

Well off to see Dune tomorrow , let's just hope they get the sequel at sooner than later.

Let's hope it does get the second part, but it's doing well at box office so it should.

[Demdike@Cult Labs]

Speed (1994)

Almost thirty years on Speed remains a classic action thriller that barely pauses for breath during it's near two hour run time.

Gripping from the off this is a sensational debut feature from Dutchman Jan De Bont and to my mind a career best performance from Keanu Reeves as cop Jack Travern, trapped on a bus with a load of passengers that is rigged to explode by villain Dennis Hopper should it's speed drop below 50kmh.

Having not seen the film for many years, revisiting it on Blu-ray was a fantastic experience and the film easily stands the test of time as an action masterpiece. Proper white knuckle stuff.