Showing posts with label kim bodnia. Show all posts
Showing posts with label kim bodnia. Show all posts

Thursday, 3 July 2025

F1 (2025)

What I know about Formula One racing, AKA F1, could be written on the back of a matchbox, and you would still have room to add what I know about NASCAR, the Isle Of Man TT, and the prestigious 24-hour races held at Le Mans. Despite my ignorance, I knew I wanted to see F1 as soon as the first trailer for it dropped. It looked slick, it looked predictable and cheesy, and it looked like the kind of big blockbuster that knows viewers will be happy to overlook a number of weaknesses as long as the star power shines brightly enough and the car sequences are shot well. Let me say right now that F1 more than delivers on those two main fronts.

Brad Pitt plays Sonny Hayes, a broken older man who loves to race cars, and is very good at racing cars. He doesn't have any celebrated career though, having (literally) crashed out of F1 years ago in an accident that changed his entire life. He's invited back by an old friend though, and that old friend (Ruben Cervantes, played by Javier Bardem) needs his racing team to score some points. Even just one point. It's halfway through the third season, and if no points are won then Cervantes will lose his team, and he's sunk far too much money into it to survive that embarrassment. The car isn't good enough to win races, but Hayes knows how they can gain some tactical advantages. He just has to convince young Joshua Pearce (Damson Idris) that he knows what he's talking about. And he needs the rest of the team to back him up, whether they end up working to tweak the design of the car or co-operating on some unusual tyre tactics.

Written by Ehren Kruger, with input from director Joseph Kosinski, F1 is just about as by-the-numbers as you can get. It's what you should expect when you hear that a Brad Pitt movie about F1 is being guided to completion by the steady hand of producer Jerry Bruckheimer. Many people have referred to this as simply a F1 riff on some previous Bruckheimer productions, but I think that's being a bit unfair. It's also not entirely untrue, but the entire world of F1, and the tactics we see used here to desperately grab for just some of the points available, is enough of a new landscape, cinematically speaking, to make this feel a bit more fresh than it otherwise would. Okay, we've also recently had Gran Turismo (also fun), but there are still enough differences to make this feel like a far superior film.

Everything is as good as can be on the audio and visual front. The soundtrack has a pulsating energy running throughout, whether in many of the songs used or in the score from Hans Zimmer, and the camerawork that puts viewers as close as possible to the driving action is absolutely incredible. Remember how you felt when watching actors in fast planes in Top Gun: Maverick? Kosinski repeats that sensation here, and it's somehow just as thrilling, despite our leads all being much closer to ground level. 

It's okay to view the car as the star here, and anyone who loves racing cars will enjoy the footage displayed here, but it's hard to deny that there's also a handful of people cast perfectly in roles that absolutely lift the whole movie. Pitt is a great damaged hero, and still allowed to learn a lesson or two during his onscreen journey (although that journey is more literal, this is not a film looking to take him on some astonishing character arc). Bardem hovers around the edges of every scene just enough to maintain the required extra suave quotient, something he does effortlessly. Idris has to portray talented and cocky, which he does, until he finally starts to learn from those who have more experience under their belts, which he also does. Kerry Condon and Kim Bodnia are equally good as two very different, but invaluable, members of the team, with the former actually turning out to be the real hope for a team needing to claw at every opportunity to gain a fraction more speed on every lap. Tobias Menzies is a smug exec, Sarah Niles is the concerned mother of the character played by Idris, and Simon Kunz is enjoyably irritating as the reporter/pundit who keeps underlining just how bad things look for any team relying on Sonny Hayes to help them find some consistent winning form.

You will see better movies this year. There are better movies starring Brad Pitt. And Javier Bardem. AND Kerry Condon. But you won't be thinking of any of those movies when this film starts to work its magic. You'll be enjoying the roar of the engines, the thrill of the race, and the fun interplay between all of the main characters. I was enjoying myself so much that it was only after the credits rolled that I made a long-overdue pun about the races being won by . . . Pitt stops.

8/10

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Saturday, 25 May 2024

Shudder Saturday: Nightwatch: Demons Are Forever (2023)

While I didn't expect much from this belated sequel to Nightwatch, I knew that I had to give it a watch. Considering that it managed to get back so many people from the original, both behind and in front of the camera, I suspected that it might at least be decent. This was tempered by the fact that I wasn't the biggest fan of the first film though.

In a major twist, worthy of the films themselves, Nightwatch: Demons Are Forever is actually a better film than the original film. That one may have made a name for writer-director Ole Bornedal, and may have provided a great platform for actors Nikolaj Coster-Waldau and Kim Bodnia, but this feels like a more assured, and arguably slightly darker, wander through the same territory.

Time has passed for everyone. Some have survived, but one or two haven't. Emma (Fanny Leander Bornedal, daughter of the writer-director) misses her deceased mother, and she also sees the constant toll that the weight of past events has on her father, Martin (Coster-Waldau, reprising his role). Emma decides to retrace some footsteps from decades before, taking a night watch job that allows her to get a bit closer to, and to find out a bit more about, the killer who almost destroyed her parents just under three decades ago.

While this is far from perfect, it's a film that absolutely excels in the times it gets everything just right. Bornedal may lead the cast of newer, younger, characters for the majority of the runtime, but there's enough time spent with Coster-Waldau's character, and a returning Kim Bodnia, to allow viewers to see the repercussions of major trauma rippling through the lives, and forever altering, the survivors of a deadly killing spree. I would say that Bornedal just about gets the right balance, providing a film that is part character study and part tense thriller. I would also say that he delivers something more consistent and intense this time around, showing the development of his skillset that has also been on show in a variety of other projects over the years (from the slick horror of The Possession to the dark comedy of Small Town Killers).

Bornedal is pretty good in the lead role, and certainly does well enough to carry the film along on her shoulders while everything is put in place to wind together for a brilliantly entertaining finale. Coster-Waldau and Bodnia are both able to get back inside their characters with ease, the former being much more outwardly changed by the events of the first film, and Ulf Pilgaard also returns for a number of crucial scenes. Paprika Steen and Sonja Richter are very good, Casper Kjær Jensen is entertaining as the potential villain who seems too obvious to be the real villain, and that's about it. There are other people filling out the cast, but they're uninteresting, and all blur into one another, while viewers wait patiently to rejoin the more captivating central characters.

Maybe it's all down to my expectations, considering how many years I spent misremembering Night Watch as a much better movie, but I ended up being really impressed by this. I would (tentatively) recommend it to those who liked the first movie, and I'll be interested to hear back from anyone who enjoyed it as much as I did.

7/10

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Saturday, 18 May 2024

Shudder Saturday: Nightwatch (1994)

I remember Nightwatch being quite highly praised when it was released. A Danish thriller from writer-director Ole Bornedal, it was a film that I soon felt I had to see. So I did. I saw it many years ago, and I saw the 1997 remake (also directed by Bornedal, but with Ewan McGregor in the lead role). I remember quite enjoying both versions of the tale, but nothing remained in my memory decades later. Rewatching this film now, it's understandable.

Nikolaj Coster-Waldau plays a law student named Martin. Martin gets a job as a night watchman as the Forensic Medical Institute, where one of his main duties is checking on the morgue. That morgue is about to gain a number of new residents as a serial killer stalks the streets of Copenhagen, but that doesn't really bother Martin, who is often busy distracting himself with an escalating game of dares that he and his friend, Jens (Kim Bodnia), are engaged in. It does start to bother him, however, when strange things start happening in the morgue, and when the victims of the killer start to show evidence that could incriminate Martin.

Although it's a decent enough little thriller, arguably a little more macabre than most, it's hard to watch Nightwatch nowadays and figure out how it gained such a solid reputation when it was first released. No one element disappoints, and the casting is a big plus, but it feels as if it's a slim, and surprisingly dull, plot padded around a couple of decent set-pieces. The grand finale is decent, and finally adds some genuine tension, but it also seems a bit ridiculous (even in relation to other slick thrillers in this vein).

Coster-Waldau makes for an appealing lead, and Bodnia is a lot of fun as the friend who keeps getting him in trouble with escalating dares and pranks, but I wish the likes of Sofie Gråbøl, Lotte Anderson, and Ulf Pilgaard had been given better material to work with, especially when two of those people are much more heavily involved in the third act. Rikke Louise Andersson is a highlight, in the role of Joyce, but her involvement with the two leading men feels like it could have been spun off into a very different, and potentially more interesting, movie.

Don't get me wrong though, I certainly didn't hate this. It's a decent and dark thriller. It's just a film that always seems to pick the least interesting direction when so many scenes provide a crossroads for the narrative. Maybe I had my viewing experience this time around impacted by that first viewing many years ago, but I wasn't ever fully invested in the characters, I didn't sense any ambiguity when it came to the potential killer, and it really dropped the ball when it came to delivering on the potential of the central premise.

Good, but not great, and I'm surprised to find that it has maintained enough of a legacy that we now, three decades later, have a sequel, also written and directed by Bornedal. I guess you already know what I will be watching at this time next week though.

6/10

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