In The Line Of Fire (1993)

There was a lot of love given to The Fugitive last year, tied to the fact that it was 30 years since it was released and it received the 4K disc treatment, and I am one of many people happy to see it. I have always loved that film, but seeing all the praise it was receiving last year kept making me wonder why In The Line Of Fire wasn’t getting the same treatment. Although a very different movie in many ways, it also feels like the other great all-star thriller from 1993.

John Malkovich plays a man who intends to assassinate the President Of The United States. He is smart, he has a background that helped him form a particular set of skills, and he is very determined to see his plan through to the very end. Things get more interesting for him when he realises that he can engage in a battle of wits with a Secret Service agent named Frank Horrigan (Clint Eastwood). Frank has spent his time in the service of numerous Presidents, and he was there on the day that JFK was assassinated. Did he hesitate at the moment he was supposed to act selflessly? He may just get a chance to live through that moment again, a chance to figure out if he can take a bullet for someone under his protection.

Written by Jeff Maguire (that’s it, just Jeff, no need for a team of writers interfering with the work), In The Line Of Fire is just top-tier entertainment from start to finish, plotted well enough to keep viewers from overthinking the implausibilities, making use of a great cast of characters, and maintaining a brilliant game of cat and mouse that has you wondering if you will get a happy or downbeat ending.

Director Wolfgang Petersen proves to be a great choice to steer the ship. In fact, you could easily argue that Petersen had an amazing little run between the early 1980s right up to the year 2000 where he basically did no wrong, although I say this without having rewatched Outbreak since I owned it on VHS. He mixes the old-fashioned star casting and interplay with set-pieces that benefit from his ability to step up the tension, and there are one or two scenes that wander very close to outright horror territory.

Eastwood is frankly superb in a lead role that allows him to both be the tough guy and remember that he is no longer a spring chicken. It’s a performance full of wry humour, worldly wisdom, and inherent courage. Malkovich, always an intense screen presence, gives us one of the villains for the ages, someone who is smart and determined and also not entirely in the wrong to have such a major axe to grind. Every scene that has Malkovich talking on the phone with Eastwood is much more electrifying than any moment simply depicting people on the phone should be. Rene Russo is a welcome addition, playing another agent who catches the eye of Oor Clint, and Dylan McDermott is the typical trope of the younger partner who ends up in a lot more danger than he can handle. Others who get some screentime include John Mahoney, Gary Cole, Fred Thompson, John Heard, and both Tobin Bell and Steve Railsback appear for a few minutes.

After my latest rewatch of this, I facetiously stated that In The Line Of Fire jogged alongside a Presidential motorcade so that Se7en could run. I still think there’s a grain of truth in that, considering how Clint’s character becomes such an important part of Malkovich’s endgame, but the best thing about this film is that it makes use of so many familiar elements while very much being its own thing. When it comes to smart and entertaining mainstream thrillers, this one really hits the mark.

9/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share

Prime Time: The Intern (2015)

I am happy to admit it. When I saw that The Intern was written and directed by Nancy Meyers, and when I saw the poster that had Robert De Niro looking slightly awkward standing alongside Anne Hathaway,  I wasn’t ever in a rush to see it. But it became a film that I kept being reminded of over the past few years, with many people commenting that it is better than you might think.

I have to agree. The Intern is better than you might think. It’s predictable and fairly safe throughout, although that helps the most risqué gag to become even more hilarious when it happens, but it’s sweet and funny, and there are a couple of good points made throughout (about the tougher treatment of successful women and the unfair dismissal of elderly citizens with a lot of life experience to share with others).

De Niro plays Ben, a widower who is a bit bored while trying to fill his days. He sees an advert for a “senior intern” vacancy with an online clothing retailer company, applies, and soon finds himself in the midst of a whole new world. Although, as becomes clear, it isn’t actually THAT new to Ben, considering his work history and the values he holds dear. It may not be the experience he hoped for though, considering the fact that company owner, Jules (Anne Hathaway), isn’t convinced that she needs an intern.

If you think you know how The Intern is going to play out from start to finish then you would be correct. Ben wants to find more from his life, although the satisfaction of doing a good job well remains high on his list of priorities. He also has to learn some new skills to be more effective in the modern workplace. Jules has to accept help from others when she needs it, and has to find a way to strengthen her resolve when others start to doubt her capabilities. There are a couple of fun surprises though, whether they take the shape of the aforementioned risqué gag or an unwelcome character development that will have you hissing at a certain someone as if they were a panto villain.

Meyers may not make movies to suit everyone, especially if you’re not into movies that seem designed more for the entertainment and amusement of women, but there’s no denying that she does what she does damn well. She knows what she is doing, and the final result is always polished and balanced between moments of fun and moments of obvious emotional manipulation. In line with her other directorial features, this is a sweet and optimistic film that feels like a good viewing choice to make during more cynical and dark times.

De Niro is great in his main role here, not having to overdo any comedy as viewers get to see his character being sharper and more capable than people assume. He’s fastidious, he presents some old-fashioned values in a way that manages to convince others of their worth, and he convinces as a valuable asset to the company. Hathaway is very good, although slightly hindered by the trials and tribulations thrown at her character throughout the second half of the film. The two leads make a great team though, complementing one another without immediately realising how well they fit. Adam Devine, Zach Pearlman, and Christina Scherer are other work colleagues (Scherer a standout as a swamped assistant who rarely gets the recognition she deserves), Rene Russo adds some romantic potential, and is always welcome in any movie role, and Anders Holm plays Matt, the “house husband” supporting his very busy wife and looking after their young daughter (a winning performance from JoJo Kushner) for most of every day.

I’ve already written far more about this than required, but this was one of the biggest surprises from my viewing choices last week. Sweet, fun, funny, and maybe even a little inspiring, I would recommend people watch The Intern if they want to spend a couple of hours in the company of a mixed bag of characters all able to make you smile for a little while.

7/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share

Netflix And Chill: Velvet Buzzsaw (2019)

If there is anyone coming to this film expecting something akin to the magnificent Nightcrawler then they're in for quite the surprise. Although there's darkness here, Velvet Buzzsaw is much more of a comedy. Yes, there are horror movie moments, good ones too, but it's the wonderful over the top nature of the thing, and some hilarious lines of dialogue, that ensure you will be smiling throughout.

Jake Gyllenhaal plays Morf Vandewalt, a successful and influential art critic. His opinions can make or break artists, something that he sometimes relishes and sometimes feels pained by. Rene Russo is a gallery owner named Rhodoro Haze, a successful woman who perhaps owes some of that success to her friendship with Morf. When an agent named Josephina (Zawe Ashton), who is a friend of Morf and employed by Rhodoro, finds a collection of paintings in the apartment of her dead neighbour everyone views it as an exciting discovery that could help them all. Unfortunately, the artist had expressly stated that he wanted his art destroyed, and with good reason.

Although never as sharp or biting as it could be, this is a fun commentary on the clash between art and commerce. It shows a market driven by one or two opinions, prices created by deceptions and hype, and the fluid relationships that ebb and flow between people who can help one another up a ladder with no final rung.

Dan Gilroy does another solid job with the writing and direction, despite the fact that he's gone for a tone that may leave some unsatisfied, and even bemused. Gyllenhaal blurting out the line "the admiration I had for your work has completely evaporated" made me laugh hard, and it's when the film is most comfortable with that level of ridiculousness that it's most fun. Thankfully, it is often comfortable with that level of ridiculousness, although the more obvious laughs are couched in between moments that focus on the greed and selfishness of the main characters.

Gyllenhaal has a lot of fun in his role, a rare turn that doesn't need him to be constantly worried or angry or looking as if he might harm himself, and Russo is fantastic in her role. The fact that she seems to only get given good parts to play from her husband is pretty damning when she shows every time that she's still got a lot more to give audiences than just "cameo as Thor's mum". You also get typically wonderful performances from Toni Collette and John Malkovich, and solid little turns from Daveed Diggs, Billy Magnussen, and Natalia Dyer. Ashton, sadly, is a weak link, but that ends up being compensated for in the third act, with the final scenes for her character created to be impressively memorable.

Don't go into this expecting another Nightcrawler. Don't go into it expecting a horror movie, or even a thriller. This is a dark comedy, and if you know that going in then you can appreciate the end result much more. Say what you like about all three films so far directed by Gilroy, they're at least all interesting and thought-provoking, whether they end up working for you or not.

8/10

Nightcrawler (2014)

Writer Dan Gilroy takes his first shot in the director's chair for Nightcrawler, and there's no point in me beating about the bush here; I can't wait to see what he does next.

Anchored by a central performance from Jake Gyllenhaal that ranks up there with one of his very best, if not THE best, this is a film that beats with the dark, cold heart of movies such as Ace In The Hole, Sweet Smell Of Success, Taxi Driver, The King Of Comedy and To Die For. It's about the manipulation of news in search of ratings, it's about people who don't care about the cost of getting ahead, and it's about (in a way) attaining a certain celebrity status. Many may debate this last point, but I feel justified in including it, considering how the central character measures his success according to the amount of his footage used on TV.

But I'm getting ahead of myself. Let's backtrack ever so slightly.

Gyllenhaal is Louis Bloom, a young man who tries to present himself to everyone as a potential model employee, a real go-getter with an unimpeachable work ethic. Yet, he doesn't seem to be having much luch in his job search. Perhaps it's due to the way in which he could quickly kill someone in between him and his goal. Never one to be disheartened for too long, Louis finds himself hatching a new career plan when he witnesses an accident, and the people quickest to arrive on the scene to film the carnage. The nightcrawlers. It's not long until Louis is arming himself with a camera and setting out to do better, and get closer, than anyone else in town. He makes a valuable contact (Rene Russo) at a local news station, he hires an employee (Riz Ahmed) and he starts to film some grisly stuff, at times even changing some details to make his film more impactful.

Nightcrawler could just as easily have been called Skincrawling, because that is how you'll probably be feeling as you watch it. This is a film that makes you want to shower and then enjoy some UV light once the end credits have rolled. The script and direction by Gilroy both work to immerse you in the world of Bloom, a world in which events are viewed not through normal eyes, but through slightly detached cameras always looking for the best framing and angles.

Ahmed is great as the young man who starts to have doubts about his new job once he sees the mounting potential dangers, Russo makes the most of her best role in years (she really deserves more work, her performance here quickly assures viewers that she wasn't just picked because of being married to Gilroy), and Bill Paxton reminds you of why he's been getting solid supporting roles for so many years. But this is Gyllenhaal's movie from the first scene to the last. He's unnerving, intense, self-deluded, and yet also able to lay on the charm when in polite company. It's a performance that stands out as the highlight of his career so far, which is no small feat when you think of the body of work that he's already amassed.

Not a comfortable viewing, nor should it be, this is a dark character study. It's also a study of that morbid curiosity that is being catered to more and more in a time of increasing news sensationalism, the ability to instantly upload footage caught on recording devices, and the constant pushing of boundaries by different media outlets.

9/10

http://www.amazon.com/Nightcrawler-Blu-ray-DVD-DIGITAL-UltraViolet/dp/B00Q3DMJZW/ref=sr_1_1?ie=UTF8&qid=1419276094&sr=8-1&keywords=nightcrawler