Showing posts with label stuart martin. Show all posts
Showing posts with label stuart martin. Show all posts

Sunday, 23 June 2024

Netflix And Chill: Army Of Thieves (2021)

I know that some people rushed to see this when it first landed on Netflix, but I don't know why. A prequel spin-off from Army Of The Dead, focusing on one of the supporting characters in that film, and directed by the actor who played/still plays that character, there was nothing here that made me consider this a priority. I'm glad I finally got around to it now though, and I can tell everyone else that this is actually quite a bit better than the film that spawned it.

Matthias Schweighöfer is Ludwig Dieter, a mild-mannered man who maintains very strict order in his life while spending his spare time mastering the art of safe-cracking, in theory. He dreams of breaking in to four legendary safes, a quartet of huge devices that become increasingly difficult to break into when approached in a certain order, and he has the chance to turn his dream into a reality when he's approached by a group of criminals, helmed by Gwendoline Starr (Nathalie Emmanuel). But the chance to make his dream comes true also comes with the chance of everything turning into a nightmare.

Clocking in with a runtime of just over two hours, because of course it does, the most pleasant surprise about Army Of Thieves is how well it moves through the fairly silly plot, helped by a decent mix of characters and a few fun set-pieces. Writer Shay Hatten keeps the growing zombie threat from Army Of The Dead simmering away in the background, but sensibly focuses on this as an amusing crime caper, centred on an entertainingly nervy and ill-prepared main character.

Schweighöfer is great in the main role, making it easy to remember why his character was such a standout in the previous film. As awkward with people as he is comfortable with lock mechanisms, he's allowed to be the kind of criminal that viewers can easily root for, in it more for the challenge than any big payday, and aiming to get things done with a minimum of fuss or casualties. Emmanuel is an enjoyable screen presence, and she does well enough in her main role here, although it's hard to view her as a strong leader when the cracks in the team start to show. Stuart Martin is the mean and moody one, abd both Guz Khan and Ruby O. Fee are there to be placed in difficult positions as things become more strained. Jonathan Cohen is the determined cop who is always just one step behind, as expected, and there is an end scene that presents the expected cameos reminding everyone of where these events have been leading.

Aside from his acting onscreen, Schweighöfer also deserves some credit for his direction. This isn't his first feature, but all of his previous films have been co-directed with Torsten Künstler, which makes this his first solo outing. I'm sure he was given a lot of support and guidance by those who wanted to keep this in line with Zack Snyder's movie (and that support no doubt includes Snyder himself potentially offering some pointers), but Schweighöfer manages to deliver something that feels in line with the previous film in this series without ever being slavishly devoted to it. It's a character piece, it's a comedic crime film, it's a fun adventure. It's not a film that needs to keep reminding you of every detail and overcooked style of what preceded it.

Absolutely disposable stuff, admittedly, but I certainly enjoyed it enough while it was on. And I'd certainly be more keen to watch another film about this character than I would to watch another zombie-filled Snyder movie at this point.

6/10

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Friday, 4 March 2022

Our Ladies (2021)

Based on a book, "The Sopranos", by Alan Warner, Our Ladies is a terrific, feel-good, jaunt around Edinburgh in the 1990s, allowing viewers to have fun watching the exploits of a bawdy group of convent schoolgirls. It calls to mind a number of other, equally fine films, from The Trouble With Angels to Heaven Help Us, and more recent Scottish fare like The Angel's Share.

Orla (Tallulah Greive) is held up as an example of the miraculous power of god, thanks to a trip to Lourdes that seems to have helped her recover from leukaemia, but she really wants to test her luck and get one more "miracle" while on a day trip with her school choir to Edinburgh. She is supported in this plan by a group of friends. There's Finnoula (Abigail Lawrie), Chell (Rona Morison), Kylah (Marli Siu), Manda (Sally Messham), and Kay (Eve Austin). Not that these girls are all friends with one another - things change throughout the movie, and Kay starts off very much as the goody-two-shoes outsider of the group - but they're all happy to keep Orla company, and to maybe make their own unforgettable experience while running free through Auld Reekie.

Directed by Michael Caton-Jones, a bit of a veteran with an equal amount of good and bad throughout his filmography, Our Ladies is, in many ways, very standard stuff, which doesn't make it any less enjoyable. It's almost refreshing that the script, co-written by Caton-Jones and Alan Sharp, weaves between predictable, but satisfying, moments and a humour and attitude that keeps us firmly in the 1990s. Updating the source material could have been entirely possible, but it somehow feels all the better for being set when it is, with the girls equally oblivious to how much the entire world will change around them as they are to how much their own lives can change once their schooldays are finished.

Bittersweet in a few different ways, there's a perfect balance of reality and optimism on display here. These characters have seen so many people around them become stuck, and this has given the impression that it's hard to really break away from their home town and make a better life. Thankfully, it's also strengthened their resolve to do just that, and the trip to Edinburgh is both a time to try as many new experiences as possible and a time to dip their toes into a lake of freedom that they hope to swim in for a long time as they move further into full adulthood.

Things are helped massively by the talented cast. Greive is the heart of the film, and she's a lovely, sweet, presence. In contrast, both Siu and Messham play characters who bristle whenever things change at a pace they're not necessarily ready for, one wanting to lead the way and one just not wanting to be left behind. Morison and Austin are very good, handling their different issues in different ways, and Lawrie plays her part well, the character with arguably the most potential to realise her ambitions, without ever coming across as too patronising or smug. You also get a wonderful small role for Kate Dickie (as Sister Condron), someone I always enjoy watching onscreen.

There are mis-steps, with the plot sometimes feeling a bit overcrowded, one or two moments a bit too neat, and some scenes showing sides of characters that make them much more difficult to like, but the good far outweighs the bad here. And the good includes a beautiful ending that breaks away from the style of everything preceding it, giving you a goosebump-raising rendition of a wonderful song and a cameo appearance that will be sure to put a big grin on your face.

8/10

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