Chris At The Pictures: gareth evans
Showing posts with label gareth evans. Show all posts
Showing posts with label gareth evans. Show all posts

Saturday, 20 October 2018

'The Streaming Pile' - October 2018

10/20/2018 10:31:00 am 0
'The Streaming Pile' - October 2018


Welcome to this first edition of The Streaming Pile; my excuse to use a good pun thinly disguised as a monthly column discussing the latest crop of Netflix', er, 'cinematic' content. This month saw the release of three fairly high-profile films (as opposed to the usual strain of Friday night horror dreck): Operation Finale, 22 July, and Apostle.

Chris Weitz (directing for the first time since 2011's A Better Life) oversees Operation Finale, a historical thriller detailing the hunt for Nazi war criminal and architect of the "Final Solution", Adolph Eichmann (Ben Kingsley). On his trail is Oscar Isaac as Mossad agent Peter Malkin. Malkin tracks Eichmann to Buenos Aires, but complications arise when he and his team must secure their prisoner's signature, to officiate his appearance before a court in Israel. 


The scenes between Isaac and Kingsley are - as one would expect from two of Hollywood's finest presences - riveting, and there's certainly thrills (however scattershot) to be had in the Argo-like mission to capture Eichmann. The supporting cast are - perhaps as a result of having to square up to the two leads - somewhat less engaging, and the casting of American comedy staple Nick Kroll as one of Malkin's subordinates is more distraction than revelation. 


Also, the moral conflicts presented by Eichmann as an attempt to throw Malkin off his game feel thin and half-baked, and are almost immediately disregarded by the viewer because (thanks to seven decades of hindsight) we know him to be a cruel, deceitful manipulator. Nevertheless, it's a largely gripping race to the finish with a sublimely righteous coda.


Far less successful (and efficiently constructed in all the wrong ways) is Paul Greengrass' 22 July, which details the events and aftermath of far-right Anders Breivik's attack on a government building and a Workers' Youth League summer camp in 2011.


Greengrass begins with a well-detailed re-enactment of the atrocities, then following both Breivik's internment and one of his victims, Viljar Hanssen (Jonas Strand Gravli). And it's that latter half (largely centred on the all-too engaging Anders Danielsen Lie as Breivik) that presents a problem: this is one instance where the United 93 director's even-handed, tell-both-sides cadence is unsuccessful at best, and abject moral cowardice at worst. 


Its frame is cold, its focus is askew, and fails to make any real statement beyond 'this is what happened'. When it comes to showcasing such appalling acts of violence, taking a detached standpoint is precisely why monsters continue to rise in Breivik's stead, because cinema (and the media as whole) continue to give his ideologies as much air - if not more - than the voices of his victims. Simply presenting a competent, functional thriller-drama - as Greengrass does here - is not enough anymore.


Gareth Evans' Apostle, too, contains no deeper message, meaning, or political persuasion...and is all the better for it. In stark contrast to the timid Welshman's previous efforts - high-octane martial arts duo The Raid and The Raid 2 - this slow-burn chiller takes its cue from classical British horrors like The Wicker Man and Witchfinder General. Dan Stevens (who, for this writer's money, doesn't appear in enough movies) stars as a tortured traveller, bound for a remote island in search of his kidnapped sister. 


The tiny isle is the home of a religious cult under the sway of Michael Sheen's rabid preacher, Malcolm. Stevens' character, by virtue of existing in the early 1900s, has never seen a film before and hence doesn't run a mile when confronted with the aforementioned premise and it's connotations. Thus, he's caught off-guard when the eerie power of the island and Malcolm's religious fervour take a darker turn.

What happens next is best left unspoiled, but rest assured that fans of The Raid films (who might find themselves on uncertain turf here) will be more than sated by the final act. Their salvation is signalled by the moment when someone has their leg broken from under them while another takes a spear through the face: "There he is! There's our Gareth!"


Operation Finale, 22 July and Apostle are now available to stream on Netflix in the UK.

Monday, 14 April 2014

'The Raid 2' - Review

4/14/2014 08:35:00 pm
'The Raid 2' - Review


The Raid 2 is writer/director Gareth Evans’ sequel to the 2012 breakout hit The Raid. After barely surviving the assault on the tenement block, Rama (Iko Uwais) is recruited by his superiors for a deep-cover mission inside a prison in order to befriend a powerful warlord’s son (Arifin Putra). After two years inside, and having emerged unscathed from riots and attempts on his life by other prisoners, Rama is drawn into an escalating conflict between rival gangs, delving into the depths of porn dens, drug trafficking and, as you’d expect, a series of increasingly violent incursions.



One of the few criticisms levelled at The Raid was that it’s narrative structure was too simple, and The Raid 2’s 150-minute running time ensures that a simple cops vs thugs romp evolves into an intricate crime drama, which begins to feel more like The Dark Knight than just a martial arts movie. Nolan’s Batman sequel film has already been cited aplenty in preliminary reviews of the movie, but the notable difference here is that The Dark Knight devoted too much of its running time to an un-necessary love triangle and one too many scenes of ‘moral panic’, Evans manages to find room for the smaller and more intimate scenes in amongst the action sequences and allows the drama more time to fully unravel without feeling rushed.

As for the fight sequences, undoubtedly the main selling point of the film, they are orchestrated masterfully. While the first movie made me feel like people were genuinely being badly hurt, The Raid 2 made me wonder how no-one was actually killed during filming, as the combination of physicality, incredibly solid sound design and the sheer amount of blood on screen leads to an raw, intense and often wince-inducing experience that is gleefully gory and breathtakingly choreographed. The martial arts are beautifully orchestrated, each fight building on the last and managing to raise the stakes still higher, introducing fresh environments, weapons, and fighting styles.

The cast all perform extremely well, Iko Uwais particularly lending an electrifyingly intense screen presence that shifts seamlessly between sullen, desperate, and incredibly determined. Arifin Putra is more than capable as the up-and-coming young crime lord, his feverish determination bridging the gap between power-hungry and power-mad, and his various rivals and cohorts perform admirably, Julie Estelle providing one of the most memorable screen adversaries despite how little screen time is devoted to her. 

Joseph Trapanese makes a welcome return as lead composer, the pulsing electronic score returning to the fray, remaining unobtrusive but giving the fights an underlying level of menace burning away beneath the crunches and thuds of the martial arts. The joint cinematography between Dimas Sabhono and Matt Flannery is also back, always keeping pace with the whirlwind of action and never feeling like it's simply running to catch up, and providing some starkly bleak establishing shots of the city and surrounding countryside. 

The Raid 2 is an astonishing collection of action, martial arts and intricate character drama that are flawlessly executed, and provides a level of intensity rarely seen on screen. If – like me – you’ve felt that action movies of late have lost their physicality and a sense of genuine threat in favour of headache-inducing CGI and giant robots, then  set aside a couple of hours and see Gareth Evans’ martial arts masterpiece. Trust me; you’ll emerge from the cinema feeling like you’ve been beaten savagely over the head...but in the best possible way.

5 Stars