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Written by Matthew Toomey

Created: 30 April 2017

I love a good underdog story and the behind-the-scenes tale of Get Out ranks very highly. Three years ago, African American comedian Jordan Peele was the creator and star of a Comedy Central show entitled Key & Peele.  It was well-regarded by critics, popular with the public, and ultimately won an Emmy Award for the best variety sketch series (in 2016).

Its success provided a confidence boost to Peele and I’m sure it provided the motivation to take the next step in career – feature films.  After mulling over a few ideas, he settled on the concept for Get Out and pitched it to several production companies.  He expected to get knocked back but QC Entertainment and Blumhouse Productions, who have a strong track record with low-budget horror, agreed to put up just under $5 million to see made.

Their support for Peele’s project has paid dividends, both literally and metaphorically.  Since its release in the United States in late February, Get Out has made $170 million at the local box-office.  That number will grow when the film is released more widely overseas.  It is the biggest box-office in history for an original story from a first-time writer-director.  The fact that Peele is an African American, a group underrepresented in Hollywood, only adds to the impressiveness of that achievement.

So is the hype justified?  The answer is a clear yes.  Word-of-mouth has fuelled the film and put plenty of bums on seats.  It opens with Chris Washington (Kaluuya) and his girlfriend, Rose Armitage (Williams), preparing to take a weekend trip into the countryside to meet her parents for the first time.  Given that he’s black and she’s white, Chris is a little nervous as this information hasn’t yet been passed onto Rose’s parents.  She assures him they’re not racist and he has nothing to worry about.

After a lengthy road trip, they arrive and introductions take place.  Mr Armitage (Whitford) is a surgeon, Mrs Armitage (Keener) is a renowned hypnotherapist, and Rose’s brother (Jones) is a medical student.  They seem like a normal American family, albeit rather wealthy.  Chris will get to meet dozens more people the next day when the Armitage’s host their traditional annual get-together.  It’s a large, extravagant party where neighbours and old friends catch up over good food and good wine.

Chris goes into the weekend with an open mind but he soon realises that something is askew.  Everyone is acting a little too polite.  He feels even more uneasy when the party guests arrive, almost all of whom are white.  A stranger strikes up a conversation with him about golf and is quick to mention the greatness of Tiger Woods.  Chris can’t work out if the man is being sincere or if the strange discussion is an attempt to mask his racist tendencies.

That’s about all I’ll reveal in terms of the narrative as the film has many twists and turns.  Get Out is an unorthodox horror-thriller that could be game changer for the genre.  Instead of frightening the audience with blood, violence and creepy noises, Peele puts you on edge by having to listen to the unsettling conversations shared between Chris and the other characters.  You’ll struggle to understand anyone’s intentions, at least during the first two acts, and that adds to the film’s ominous nature.

28-year-old British actor Daniel Kaluuya (Skins) is terrific in the leading role and is well supported by his fellow cast members.  The pick of the cast is Lil Rel Howery who breaks up the tension with some well-timed comedy.  He plays a friend of Chris who works for the Transportation Security Administration and the two chat several times over the phone across the course of the weekend.

Horror-thriller films don’t have a great track record at the Australian box-office but when word starts to spread here about Get Out, I think a lot of people are going to be seeing one of the year’s most interesting films. 

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Written by Matthew Toomey

Created: 18 April 2017

It’s one of the most analysed events in movie history and World War II is back in the spotlight with Their Finest, the latest from Danish director Lone Scherfig (An Education).  The characters are fictitious but the screenplay taps into events that did take place during the war.  Don’t expect any major battle scenes though.  Based on the dramatic novel by British-born Lissa Evans, the film delves into a part of the war that many will be unfamiliar with.

To help get messages out to the wider public during WWII, the British Ministry of Information produced “informationals”.  They were short films that screened in cinemas (often in between a double feature) that helped lift spirits and educate the nation.  Some were about providing basic facts, like what to do when hearing air raid sirens, whilst others were more uplifting, such as a fictitious short story about a heroic Brit saving his fellow soldiers.

Catrin Cole (Arterton) is a young Welsh woman who has landed a job with the Ministry to help with these propaganda films.  Her main job is to write the “slop” – a harsh word referring to the dialogue uttered by the female characters.  Her views are often ignored and it’s clear she’s not respected by her male counterparts.  Sharing a theme with the recently released Hidden Figures, she’s a woman trying to break down barriers in a male dominated workplace.

The crux of Their Finest is spent following one film production in particular.  The Ministry has gone with a change of tact and has agreed to fund a full length feature.  It’s loosely based on an actual story and is about a soldier who helps rescue others during the Dunkirk evacuation in 1940.  The Ministry’s hope is that young Brits will be inspired by the tale and will enlist in the army.  They also hope it will provide comfort to the broader population that the war will indeed be won.

Catrin is at the centre of all the film’s key subplots.  We are provided insight into the fractured relationship she shares with her husband (Huston) who doesn’t react well to his wife being the sole breadwinner.  We see her argue and battle with her male co-writer (Claflin) as the propaganda films take shape.  We also watch her interact with a self-absorbed actor (Nighy) who isn’t too open to criticism.

Their Finest isn’t too heavy and I can see audiences reacting positively to the “lighter” touch.  The most interesting element is its setting.  We go behind the scenes on the production of a war propaganda film and see some the decisions, rightly or wrongly, that are made along the way.  They are described to Catrin as “real life with the boring bits left out.”

Some won’t be phased but I was a little disappointed by the final act.  Despite the intriguing setting, it becomes a fairly conventional love story.  Catrin’s great work, so much a focus during the first two-thirds, is pushed into the background.  There’s also a poorly written twist that doesn’t generate the emotional impact it should.

The performances are largely very good.  Gemma Arterton (Clash of the Titans) impresses as the film’s strong, opinionated leading lady.  You can see her character’s confidence build through each passing scene.  Bill Nighy (Love Actually) confirms his reputation as a scene stealer with his performance as the prickly actor with a softer interior.  Jake Lacy (Carol) also wins laughs as an American “actor” who been included in the Dunkirk film solely for political reasons.

Mixing a range of genres, Their Finest is a likeable crowd-pleaser that offers drama, comedy and romance. 

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Written by Matthew Toomey

Created: 24 April 2017

A battle is being waged within the Marvel universe.  That battle is to win laughs.  After some heavier material, the scales have shifted back in favour of comedy with Guardians of the Galaxy in 2014 and Deadpool in 2016.  Thoughts on these films will vary depending on one’s sense of humour.  Some love the spoof-nature of Deadpool while others prefer the insult-laden screenplay in the Guardians franchise.

Few chances have been taken in this follow up from writer-director James Gunn.  It’s the same characters making the same kind of jokes.  To provide a quick background check, there are five eccentric individuals who have formed a strange partnership to help save the world.

Peter (Pratt) is an Earthling who loves music from the 1970s and 80s, Gamora (Saldana) is an alien orphan with a troubled past, Drax (Bautista) is a quasi-monster with superhuman strength, Rocket (Cooper) is a genetically-engineered raccoon with a filthy mouth, and Baby Groot (Diesel) is a small talking tree with a very limited vocabulary.

The premise of this second film is slow to reveal itself.  It begins with Peter learning that his father is a mysterious alien being named Ego (Russell) who thinks of himself as a God.  He’s even created his own paradise-like planet where he spends most of his time.  There’s a bit of father-son bonding time and the Guardians also get to meet Mantis, a close associate of Ego who has the ability to “read” emotions.

With no villain established in the opening hour, it falls upon the Guardians to be their own worst enemy.  They’re asked to protect a highly-advanced alien race from a large monster intent on destroying them (it provides for a cool opening title sequence).  The job goes smoothly until Rocket takes it upon himself to steal several batteries that were considered valuable to the local people.  There’s now a deserved bounty on their heads.

The story isn’t as strong this time around but these characters have won me over with their charm and spirit.  They have a distinct lack of social skills and this alone provides for many laughs.  Drax and Rocket verbalise whatever thoughts run through their heads (even when they shouldn’t) and Peter and Gamora try to put up with each other’s insults despite the obvious sexual tension.  Groot is the most loveable of the bunch but his low-IQ makes him a hindrance as much of a help.

With the focus on character interaction (rightly so), the action sequences are kept short and sharp.  The many subplots come together in the final hour and the narrative finally starts to makes sense.  Don’t expect everything to be resolved neatly.  Five closing scenes, spread throughout the closing credits, create intrigue about what may happen in future films.

Featuring another broad soundtrack and a few funny pop culture references (even Mary Poppins gets a mention), Guardians of the Galaxy Vol. 2 entertains and keeps the franchise on the right track.

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Written by Matthew Toomey

Created: 12 April 2017

Just like the cars in these movies, The Fast and the Furious franchise is showing no signs of slowing down.  It’s been 16 years since the release of the original and the seven previous instalments have grossed just under $4 billion USD at the worldwide box-office.  One can only assume that these characters will still be pulling off daring robberies and elaborate escapes as 80-year-old pensioners.  I can’t see them stopping any time soon.

Directed by F. Gary Gray (Straight Outta Compton), the least interesting component of The Fate and the Furious is its plot.  To sum it up in a single sentence, the villain gets their hands on a nuclear weapon and works with some folk in Russia to help detonate it.  It’s reminiscent of so many other action films and I was surprised that writer Chris Morgan didn’t strive for something more original.

That’s not to say the film isn’t watchable.  There are some great action pieces that can be enjoyed.  My favourite was a car chase sequence involving driverless cars that had been “hacked”.  It’s amazing what pandemonium you can cause on the streets of New York when controlling thousands of cars at once.  Other highlights include another car chase across a frozen Russian lake and a gun fight where an ear-muff wearing infant is caught up in the mayhem.  They win points for creativity.

The villain is critical to the success of any action film and Charlize Theron earns praise for her performance as a cyber-terrorist looking to impart her views on the rest of the world.  She’s part genius, part psychopath and her cunning nature ensures she continually has the upper hand.  She blackmails the film’s protagonist, Dominic Toretto (Diesel), and uses him to help steal the aforementioned nuclear weapon.

The film’s other standout is Helen Mirren but her appearance is far too brief and fleeting.  It’s barely a cameo.  Her hilarious character makes you realise that other members of the cast aren’t all that interesting.  Tyrese Gibson is striving too hard for laughs, Kurt Russell and Scott Eastwood rabble on too much, and Michelle Rodriguez is given very little material to work with.  Hopefully we see more from Mirren next time around.

There’s not a great deal of tension in the film despite its heavy nature.  Those who have seen the earlier films will be familiar with the same themes being drummed home.  The word “family” is repeated so often that it feels like a TV commercial for a political party.  It’s about putting the lives of your friends and family ahead of your own.  It’s why Toretto is prepared to risk the lives of millions to save just one – a conclusion that doesn’t make a lot of sense in the real world.

The cast members will have been rewarded with nice pay checks but The Fate of the Furious is a few steps below the best in this franchise.

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Written by Matthew Toomey

Created: 19 April 2017

Those that have planned a wedding will know one of the more challenging aspects is the table seating at the reception.  You’re bringing together a wide range of people from different families and different backgrounds.  Who do you put around each table to ensure a fun, happy, chatty evening ensues?  Who do you have to keep separate for reasons that are best not divulged?

This appears to be the concept from which Table 19 was born.  The film takes place over a day and follows 6 people who have been seated together at a wedding.  They’re been positioned in the back corner – as far away from the main table and the dancefloor as is possible.  That sums them up.  They’re noted on the planners map as the “randoms” – those people who were invited to be polite but should have known better than to RSVP.

Heading the table is Eloise (Kendrick).  She was once best friends with the bride but their relationship soured after Eloise had a falling out with the bride’s brother (they’d been dating for 2 years).  Jerry (Robinson) and Bina (Kudrow) are a long-married couple stuck in a tired relationship.  Jo (Squibb) is a former nanny who has been invited out of spite.  Walter (Merchant) is a convicted criminal who stole $125,000 from his uncle’s company.  Renzo (Revolori) is an awkward youngster who thinks of himself as a “ladies man” but has no idea what he’s doing.

Over the course of the evening, they open up to each other about their respective backgrounds and problems.  This isn’t like Wedding Crashers or Bridesmaids where the writers use slapstick and farcical scenarios to create laughs.  This is a little more subtle and there are several moments that are attempting to tug at the heartstrings. 

Things don’t always work out the way that we expect.  That’s a message within the film… and also a message about the film.  Director Jeffrey Blitz earned an Academy Award nomination in 2002 for one of my all-time favourite documentaries, Spellbound, and he later went on to win an Emmy for directing an episode of The Office.

The guy has talent but I have to be blunt – this is a mess of a film.  With a running time of just 87 minutes, it looks like it’s been chopped up in the editing room.  Characters jump between scenes far too quickly and the ending is rushed.  Our six protagonists leave the wedding reception several times during the film but Blitz, for whatever reason, keeps zipping back to the reception to see unimportant characters doing quick, dumb things (such as a drunk karaoke singer).

There’s a lot of talk at Table 19 but there weren’t many laughs in Cinema 4.