The Preposterous Unsurvivable Apocalypse

“All myths are foundations of reality.” ~ Richard Croft

“Lara, your father’s gone. You can pick up where he left off.” ~ Ana

“Seven years, I’ve been on this island. Your father, he put me here. Now I see the likeness, intelligence, the recklessness.” ~ Mathias Vogel

“Some men like dangerous women.” ~ Lu Ren 

“Some men are foolish.” ~ Lara Croft

It’s been years since we last saw Lara Croft on the big screen, in Angelina Jolie’s pair of Tomb Raider adaptations. Based on a video game (not a good source material, but then I’m biased against video games) following a cold as ice British archaeologist-adventurer (pretty much a female Indiana Jones), the two previous films followed Jolie’s character as she confronted family issues, ancient secrets and grandiose treasures, deathtraps, megalomaniacs, and betrayals. A new take on the character takes to the screen in the simply titled Tomb Raider.

We meet Lara Croft (Alicia Vikander), at twenty one living a reckless, carefree sort of life. She’s going through school, working as a bike courier to pay the rent (this despite coming from wealth). And she’s avoiding the inheritance of her father Richard (Dominic West), a wealthy adventurer who vanished without a trace years earlier and is considered dead. His business partner Ana (Kristin Scott Thomas) coaxes her into taking responsibility for her inheritance, and thus Lara comes across a message from her father meant for her, the one of the 'if you're seeing this I'm dead' variety- one that will lead her to a dark legend of the past, a scenery chewing villain, a tomb filled with complicated dangers, and situations that nobody should logically be able to survive.

The last of these films was back in 2003, when Cradle Of Life wasn’t quite the success that the first film had been, and Angelina Jolie decided not to reprise the part. Her take on the character was of a woman already established in her profession on the one hand, and enjoying the wealth of inheritance on the other (all while having daddy issues herself). The story here takes the character and has us see her as a novice, not yet finished her education and living away from the family mantle of responsibility when we first meet her. The script, by Geneva Robertson-Dworet and Alistair Siddons, follows a story the former did with Evan Daugherty, and follows the formula of the franchise- both film and video game. The cool and steady heroine, the ancient secret of incredible power, the ethically challenged villains with visions of profits in their heads, the action set pieces of near death escapes- they’re all present and accounted for.

Given the fantastic elements of the story, the strongest touch of the script is the dynamic of daughter and father- the absence of the two, the mourning of a bond that’s been lost and yet found. As preposterous as the ancient secret turned incredible power aspect of the story might be, that dynamic between the two Crofts is the highlight in a script that otherwise tends to relies heavily on cliches, plot holes, and the avoidance of logic. I mean seriously, how on earth does someone survive all that, let alone seem to heal so quickly and be back in action?

The director is Norwegian- Roar Uthaug. His work has been based out of his home country, though looking at his resume, his last film makes for good qualifications for taking on the job here. The Wave was a 2015 disaster film that was strongly grounded in character, and that reflects itself here. He’s able to handle the CGI that the story presents on the one hand, the grand set pieces and fierce action, all while working reasonably well with the actors themselves. Uthaug as a director deserves better than the script gives him. Have I mentioned I'm not impressed with the screenwriters?

Some of the supporting characters tend to be more sketchy in their development, and that’s more a case of the problems with the writing, where emphasis is placed elsewhere. Daniel Wu plays Lu Ren, a ship captain who assists Lara (and somehow manages to survive things that he shouldn’t survive), but is generally not developed beyond that. The same applies to Hannah John-Kamen (who will soon be appearing as a Marvel villain) playing Sophie, Lara’s loyal friend- the script doesn’t really develop her beyond that point. Kristin Scott Thomas and the veteran actor Derek Jacobi find themselves in the same dilemma, with character roles that aren’t as developed as they could be, for a couple of reasons- the story needs their cards played close to the vest and the story puts its emphasis on the leading character.

Walton Goggins plays the villain, Matthias Vogel. He’s made his name in the television show Justified, but has worked as a character actor in film and television for years on end. Possessed of a strange name and the sort of beady eyed looks that will never make him a leading man, Goggins instead gets to play character roles and oddities. Vogel spends a lot of time chewing the scenery on behalf of a shadowy organization (there’s always a shadowy organization in a film like this). A rival archaeologist to Lara’s father, the man is a greedy bastard, totally without scruples of any kind, seeking power for his own ends and that of those he answers to. The actor seems to be having fun playing the role, but then playing the villain usually is more fun.

The bulk of character development in the film is left to two characters. Dominic West, the British actor, has done a lot of film and television work on both sides of the Atlantic for more than a quarter century, and here he plays Lord Richard Croft, the nobleman turned archaeologist and adventurer who at the beginning of the story has been presumed dead for some time. Unlike Vogel, he is a man of scruples, sympathetic, devoted to the daughter who he’s missed terribly, and the actor plays to that, creating a believable relationship with Vikander in how the two relate to each other- even when they’re not in the same space.

Alicia Vikander gets the rest of the character development as Lara, and she occupies the role well, ending up being the best part of the film. She’s done quite a bit as an actress since her career started, most recently as a primary role in Jason Bourne. Her take on the character starts off as carefree and cool (while avoiding the unresolved issues of her father’s disappearance), something of a novice starting out into a world of adventure. As the story goes along, she invests the character with strength, physicality, sympathy, and a smooth, sly sense of humour. Cool as ice as she may be, her take on Lara is human, and is what makes the film work, and gives the audience someone to connect with. She may be able to survive and heal faster than anyone should be able to (is she related to Wolverine?), but Vikander’s performance gives the character more depth than a video game could have.

All in all, the film manages to entertain despite a weak script that leans too much into spectacle and into cliche at times. Yes, some characters tend to be more one dimensional than others. Yes, there are plot holes and preposterous moments. Yes, there are one too many booby traps that play to the video game origins. But the leading character is compelling to watch, and the actress makes her that way. There will no doubt be more of Tomb Raider to come, and I’d like to see what Vikander does with Lara Croft. As long as they hire different writers.

The Darkest Hours And The Strongest Voice

“He mobilized the English language and sent it into battle.” ~ Lord Halifax

“You cannot reason with a tiger when your head is in his mouth.” ~ Winston Churchill

Director Joe Wright (Pride and Prejudice, Atonement) returns to the big screen with Darkest Hour, a film that hit theatres at the Christmas break and has already gotten critical acclaim for its portrayal of Winston Churchill at one of the most trying times in British history. The prime minister, who has often been depicted in film and television, is the subject of this film that shows him at a low point for his country- and one of his finest hours as a leader: the dark days of the fall of France and his defiance in the face of the German threat.

The film opens in May 1940, with Britain and France as allies against Nazi Germany. There is anger in Parliament, as Neville Chamberlain (Ronald Pickup) is pressured to resign over his weakness and earlier capitulation to the Germans. Chamberlain finds himself in a position where the only replacement in his party the opposition will support is the cantankerous First Lord of the Admiralty, Winston Churchill (Gary Oldman), who has always stood firm that the Germans under Hitler could not be trusted. Supported (and occasionally lectured) by his wife Clementine (Kristin Scott Thomas), Churchill pushes on in the face of political intrigue among his colleagues and the pressures of war to face down the looming German threat.

The script, by Anthony McCarten, has a tight focus in its narrative, concentrating on the early days of the Second World War, starting with May 1940 and moving through to Churchill’s momentous speech of defiance later in the year. The story strongly focuses on the personalities- the Churchills, Chamberlain, the foreign secretary Lord Halifax, King George- and the politics that can be biting and savage even from within a party. It also squarely sets itself right in the era, playing off the historical events of the time as its backbone. The film’s narrative ends up acting as a good counter-balance to this year’s Dunkirk, which mines some of the same material from the point of view of the men on the beach.

Wright is a fine choice as director. He works exceedingly well with actors, something seen in his previous works, but also has a good eye for the finer details, something that we see here. There’s an authenticity to sets, to props, to the little things that make up the world of a film, and Wright and his crew pay attention to that. His style as a director is well suited to character studies, which this film pretty much is. He paces the story well, so much so that while it’s a political procedural, it never seems to lag or wander off. And he presents the political intrigues of a cabinet that’s not quite so united as the story goes along; at one point there was a crisis within the cabinet, and Wright’s story goes into that. Had history gone another way, we’re left to wonder how radically different things might have been.

The cast is brilliantly chosen. Lily James appears as Elizabeth Layton, Churchill’s secretary, who has to learn how to manage her grouchy boss and help him along in preparing for the speech that will change the course of the war. Ben Mendelsohn, who recently turned up as the Star Wars villain in Rogue One, gets a more sympathetic role as King George VI, struggling with his own issues and his duty to his country. Ronald Pickup gets a lot to do as Neville Chamberlain, the prime minister forced out of his job due to his own weaknesses and yet seeking his own ambitions. And Stephen Dillane, a character actor who’s appeared in a lot of film and television work, turns in a fine performance as Lord Halifax, the Foreign Secretary who harbours his own ambitions in the face of war.

Kristin Scott Thomas is sympathetic and strong as Clementine Churchill, wife of the prime minister. Her character has spent her life with the grouchy, fierce, but principled Winston, knows his moods and his heart, and is one of the few people who can call him out of a mood and can sooth the occasional doubt. The actress conveys the quiet strength and fortitude of the character, and has a believable sensibility in how she and Oldman relate in their characters.

Winston Churchill has been portrayed by many an actor in film and television in the decades since his death, in performances that have played on various aspects of his personality. Gary Oldman’s take on the role deserves the Oscar for Best Actor. He brings to life the cantankerous, ferocious, spitting in the face of danger aspect of the man in a tour de force performance that leaves you astonished. Oldman is one of those actors who completely vanishes into the role with effortless skill- this time quite literally, as the actor vanishes beneath padding and prosthetics to look quite unlike himself. And he conveys the conviction and iron will of the man in just the right way.

Darkest Hour is one of the year’s best films, and deserves to be honoured as such. While I still think Dunkirk is the best film of the year, this is a fine companion to it that merits an Oscar for its lead actor, a long overdue Oscar. It captures the tension and intrigue of a part of the Second World War when it seemed hope was lost. And then proceeds to find that hope in the spirit of a ferociously defiant man. This is a film you should see.

Charles And His Screwball Friends

Some links before I get to anything else. Norma had another passage from Sam's Story. She also had a musing on disaster films and scenarios, and had questions at her wordpress blog. Eve had some musings.  Shelly noted things to celebrate. And the Whisk had this unlikely food combination at her blog (maybe it's an American thing).

Now then, today I have a film review....

"I seem to be stuck in the wedding from hell, ghosts of girlfriends past at every turn. Next thing I'll bump into Henrietta and the nightmare will be complete." ~ Charles

"A toast, before we go into battle. True love. In whatever shape or form it may come. May we all in our dotage be proud to say I was adored once too." ~ Gareth

"I'd have had to marry your friends, and I'm not sure I could take Fiona." ~ Henrietta

"Fiona loves you." ~ Charles

"Fiona calls me Duckface." ~ Henrietta

"The great advantage of having a reputation for being stupid: people are less suspicious of you." ~ Tom

"Dear Lord, forgive me for what I am about to, ah, say in this magnificent house of worship. Bugger! Bugger! Bugger, bugger, bugger, bugger!" ~ Charles

Years ago, British writer Richard Curtis asked himself how many weddings he had been to over the years. That was the genesis for his screenplay when he realized the answer. Four Weddings And A Funeral was the film that developed from the idea, directed by Mike Newell (Enchanted April, Harry Potter And The Goblet Of Fire). It tells the story of a relationship framed over four weddings (and one funeral) with the nuances of British life, old friends, romance, life, and death playing out over the course of the movie. Made for a relatively small budget, the film made a tremendous amount of money worldwide, caught on with audiences beyond cultural lines, and even scored a nomination for Best Picture at the Oscars.

We first meet Charles (Hugh Grant) sleeping in on a Saturday at home when he's supposed to be getting ready for a wedding. It seems a common thing for Charles and his housemate Scarlett (Charlotte Coleman) to sleep through alarm clocks. Their friends Fiona (Kristin Scott Thomas), Tom (James Fleet), Matthew (John Hannah), Gareth (Simon Cowell), and Charles' brother David (David Bower) have no such problem, however, and are waiting at the church when Charles and Scarlett scramble in late, for Charles to take his duties as best man at the first wedding.  

He meets Carrie (Andie MacDowell) at the reception, and there's a spark between them, even after he's committed a faux pas in a conversation with an old friend that happens to make his old friend wonder just how faithful his wife has been. The two spend the night together, parting ways in the morning, but they're fated to keep crossing paths at weddings (which Charles keeps being late getting to). And Charles keeps getting himself into socially awkward situations along the way, while his family and friends keep finding amusement in his dilemmas (such as the wedding from hell, with ghosts of girlfriends past). 

Newell shot the film in London and around various spots around Britain, including churches, manor houses and castles, and it shows in the details, all of which feels very British and quite luxurious. We're looking at the lifestyles of the upper class (though we're never quite sure what most of these people do for a living), but it's not in a way that makes one think of Masterpiece Theatre. That's because the story grounds itself in a rich, delightful sense of humour and strong, deep characterization. Curtis' screenplay plays itself out mostly through the five ceremonies of the title (with the odd bit of veering off here and there). It deals with universal things we can all relate to about weddings- best man speeches, mistakes during a ceremony, what on earth to say in congratulations to the happy couple, and adds in a healthy dose of cinematic pratfalls for its protagonists that we can laugh at. 

While a number of women remark on how cute Charles is (it must be the cheekbones), it's true that the character is also written to be socially awkward, and this is where the screenplay's humour is at its richest. Whether it is Charles being stuck at a table with a number of his former girlfriends, meeting an ex who can cry at a moment's notice, or being stuck in a room while the bride and groom have their way with each other in a very loud way, Charles has a gift for finding himself in situations of socially awkward magnificence, with the look of a man who's wondering what hole might be deep enough to hide in for a few years. The humour also shows itself in the dialogue among the characters, which is both funny, and very, very smart. It's the kind of humour that I like- intelligent, doesn't lower the expectations of the audience. We might have ourselves a novice minister (Rowan Atkinson) spectacularly messing up wedding vows (and leaving the audience in stitches). Or we might find ourselves musing on what Scarlett thinks of the idea of working at a place that sells rubber clothing for people with eclectic personal tastes.  

The story also emphasizes strong characterization, the other element that makes it work so well. It's most obviously there in this circle of friends. These are people who have known each other for years. They know each other well, get along with each other (though not always, sibling relations can be a bit volatile at times), but always have each other's backs. You get the sense that these people are family of their own choosing, and because of how well the characters are developed, we get to warm up to each of them. And when one of them becomes the subject of the aforementioned funeral, we see the sense of loss among the rest, because we're feeling the loss too. That's the testament to how well the movie works: we become so invested in the characters. 

Newell's crew did outstanding work in their various capacities. It starts with the camerawork, which tends to capture Britain at its best- churches lean towards feeling light and airy and dignified inside, vibrant, just as you expect from a wedding, and the scenes are shot in that manner. At the same time, the funeral service has a drab, downcast manner, and is shot in that fashion that fits the mood. Aside from the sheer amount of set detail- flowers at weddings, props you'd expect at weddings, and the like- the other big crew task is in the clothing, and that's something I wouldn't usually make note of, but it is noticeable here. The wedding dresses at each wedding differ, but fit the mood of each bride. Scarlett's off beat eccentric way of dressing perfectly fits an unorthodox character. Fiona's gradual shift from wearing black at weddings to finally wearing colours still fits the character, who's elegant and refined. Perhaps most closely tied to character are the waistcoats Gareth wears to weddings, brightly coloured and boisterous, just like the man himself. Charles, on the other hand, tends to look like he just rolled out of bed, even if he is wearing a tuxedo, and that's a good touch for the character and a mark of careful attention to detail by the crew.

The cast is the other great strength of the film. Rowan Atkinson, the great British comedian who gave us Mr. Bean and Blackadder, is hilarious as the flustered clergyman in his cameo. Anna Chancellor turns up in a complicated role as Henrietta, Charles' ex-girlfriend who he runs into at the wedding from hell. She's not meant to be likable- she's clingy and difficult in nature, and yet I like what Anna does with the character. She makes her compelling to watch, even if Charles' friends call her Duckface. Robyn McCaffrey turns up as Serena in the first wedding. She finds herself interested in the deaf David when she sees him, introduces herself later on at another wedding, trying to show what she's learned of sign language (and getting words wrong). There's a good chemistry between the two characters, and she brings a breeziness to the role.

Charlotte Coleman plays Scarlett as the eccentric carefree character she is, seemingly a bit flighty and yet with depth that shows itself, particularly in her grief during the funeral. She's unconventional, but we also see someone who's loyal to her friends. David Bower as it turns out actually is deaf, and plays Charles' brother with a charm and graciousness. He gets some great lines along the way (subtitled, mind you) and proves to be the catalyzing force late in the film for Charles to make a vital decision. Even as he appeals with reason, he can't quite help but add some humour to it, and Bower brings that across. James Fleet gets to play Tom as the wealthy man with a reputation for being slow witted (this certainly comes across when he's the best man at the second wedding and flubs his speech). Still, in a way there's some wisdom to him- he points out late in the film something that's indisputable. We like him as much as we've gotten to like other cast members.

John Hannah went onto other films after this, including Sliding Doors and The Mummy series. Here he plays Matthew with a wry sensibility, a bit quiet perhaps, but with the sense that he's smiling at a private joke. He's a true friend to those in his life, offering counsel when needed. We particularly feel for him when he is subjected in the strongest way to grief, and this is the role that got Hannah notice beyond British shores. It's a great part, in a film filled with great parts. He's one half of a believable couple with Gareth, played by Simon Cowell. It's a same sex relationship that feels very grounded- Ian McKellan later said the film did far better for the advancement of acceptance than Philadelphia, and that does show itself in how the audience just likes the two men. They're a normal couple- well close enough, anyway; Gareth is slightly bonkers. Callow makes the most of his role as Gareth, a boisterous larger than life fellow who has an amazing zest for life (Scottish dancing does the poor fellow in). He inhabits the role with such presence, and we like him a lot. Both Gareth and Matthew are immensely loyal to their friends, and so when death comes calling, we feel the loss of it. Kristin Scott Thomas is marvelous as Fiona, so elegant and refined. She holds much to herself, including her feelings for one of her friends (though she sometimes shares with strangers). Even if she initially comes across as a bit icy, she has some great lines before we start seeing more beneath the surface, someone who loves deeply and feels greatly. 

The leads are perfectly cast. Andie MacDowell spends much of the film interacting primarily with Grant. Carrie is like a breath of fresh air, a likable character who brings out the flustered qualities in her counterpart. She's smart, flirtatious, and sweet, but also brings empathy as a person, and that comes across in MacDowell's performance. It's perhaps that we tend to like her as an actress that we like the character- in the hands of a different actress we might find something lacking in the character, but perhaps not. The writing for her is still so solid.

Grant established himself in the role and became a star as Charles. He showed a gift for comedic timing and a skill for letting himself play a character ending up in very awkward situations. His Charles seems to be stumbling and improvising his way through his personal life, with a bit of a track record for not being very discreet in his former relationships; Henrietta calls him a serial monogamist who goes through relationships convincing himself he must never get married. Grant plays him as a bit nervous, even stammering on occasion, but we get to like Charles a whole lot. He and MacDowell had great chemistry together as their characters, and it really shows in how much the audience comes to like them together.

Four Weddings And A Funeral rightly established itself as a classic romantic comedy. It's grounded in such strong characterization and very smart comedy, taking its leading man through situations that feel awful and yet we can't help but laugh at. It's a love story, but at the same time a testament to real friendship, with characters that feel genuine and have depth. It is a film guaranteed to make me smile and laugh every time I see it.

Just not during the funeral.