Thursday, 30 January 2025

OUT NOW: Conclave (Edward Berger, 2024)

The pope is dead.

It falls to Cardinal Lawrence (Ralph Fiennes) to oversee the conclave to elect his successor.

Already riddled with self-doubt about his vocation, Lawrence finds himself contending with factional infighting, conspiracy and secrets which might shake the Catholic Church to its foundation.


Conclave is a thriller about political power - the factional infighting, the weighing of different interests.


Considering the film is largely people in rooms, I was impressed at how dynamic and exciting it was.


Based on a novel by Robert Harris, Conclave plays like a great beach read - starting with a great hook and slowly introducing a series of escalating threats that our flawed protagonist seems ill-equipped to thwart.


I love a locked-room mystery and this is a good one.


The fact that it manages to raise the stakes without introducing a gun and only minimal violence (which almost plays like a reprieve from the mind games). 


Taking place in the backrooms of power, Conclave is about stripping aside the idealism from the pursuit of power.


This is a high stakes game, where ideals get tossed aside in favour of hard-headed realpolitik.


Our protagonist tries to preserve a sense of decorum, tradition, and objectivity.


He ultimately is forced to realise that this is a fiction.


The scene of Laurence breaking the seal on the dead pontiff’s chamber is the film’s crossing of the Rubicon.


The actual act is shot from multiple angles, treating this moment as a crossed line.


Beyond this point, all attempts to maintain proceedings are a pretence.  


Leaving the movie, I had only one thought. 


This is great, but watching it on the cusp of a second Trump presidency, and with facism seemingly encouraged around the world, it felt almost naive.


Factional infighting and ideological struggles within institutions will never go away, but Conclave feels reflective of a philosophy and a strategy that has reached its endpoint


In the film, the rabidly conservative cardinal is repelled, and the collective makes a wiser choice than the “lesser evil” strategy the film has been focused upon. .


A film with such clarity about the way politics works, and the way institutions operate, is ultimately an appeal to faith - if not in the almighty, then in the collective will of people to make the right choice.


Well-acted, very funny and carrying its meaty themes with a deft touch, Conclave is a fun time.


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Tenet (Christopher Nolan, 2020)

A Russian oligarch (Kenneth Branagh) is attempting to use technology from the future to bring an end to the world.


It falls to a shadowy secret agent (John David Washington) to stop him.



I did not catch Tenet in theatres (for obvious reasons).


I am not the biggest Nolan fan so I just never caught up with it.


I caught a recent IMAX re-release, and I am so glad I waited.


This is cinema on an epic scale, a scale we just do not get any more, in 2020 or 2024.


Just in terms of scope, this movie is incredible - the opera house, filled with extras, the plane crashing into the hanger, the catamaran race, the final battle, even Elisabeth Debicki using her huge frame to open the front door from the backseat.


Everything in this movie is so physically immense.


Nolan is famously fetishistic about using filming and favouring practical effects - this movie totally validates that position.

 

 A movie that is simultaneously aiming to be a crowd pleaser while acting as a complete rejection of contemporary trends among its contemporaries.


I will not be saying anything new, but if all of Nolan’s nods to James Bond, this feels the most evocative of 007’s globetrotting.He even managed to find some new, exotic locations - the freeport, the secret Russian city, even the offshore wind farm are all visually distinctive and different.


It is hard to not spend most of this review on the background and the scale.


Is John David Washington good? Or is it just that he sounds like his dad?

 

There are times where he works as a cool, professional spy (or the star of an action movie about such a character).


He handles the few one-liners well.


It might be a George Lazenby - he is not terrible but he cannot sustain or stretch outside a certain emotional bandwidth.


There are times where he comes across as effectively wry and detached - but in scenes requiring more open displays of emotion, of vulnerability, any scene with Debicki’s subplot.


He rings hollow.


He has better chemistry with Robert Pattinson.


Pattinson - getting to play the Protagonist’s accomplice - is a welcome dose of charisma. He is so charming and conveys such a bond with Washington that their final farewell.


Do the emotional stakes work? Kinda.


The Protagonist is a bit of a cypher.


The final reveal injects a movement of emotion - it does not quite have the emotional catharsis intended. 


I was so overwhelmed by the experience of the movie it did not matter in the theatre.


Watching it over four years after its release, Tenet hit like a splash of cold water.


Thanks to a lot of poorly integrated greenscreen and quickly-rendered CGI, so many blockbusters feel hermetically sealed.


Could I follow what was going on?


Kind of. 


Could I understand what people were saying? No, and I couldn't care less.


I loved watching this movie.


I find I never rewatch Christopher Nolan movies. I am completely sucked in watching them on the big screen.


They are meant to be viewed in a theatre on the biggest screen.


While I found the movie’s specifics start to fade, what lingered were the emotions: Pattinson’s sad smile as he farewells his friend; the nihilism of Branagh’s mission, overshadowed by death.


The movie does not have a powerful emotional motor, a cathartic final impact. It does not land what it believes it is aiming for.


But there is something there buried under the amazing stunts and photography:


A faith in human beings, and their willingness to sacrifice themselves for the lives of others.


It is an imperfect beast, and not exactly sure how to express what it wants to convey. 


But the attempt is still worth watching.


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Saturday, 25 January 2025

Barbara v Amazon: 007 in limbo

In this season of The James Bond Cocktail Hour podcast, we are covering the six year gap between Licence to Kill and GoldenEye, covering everything James Bond-related, from books to comics to video games, to non-Bond properties which tried to fill the gap.


We start the new year with a look at the current spate between Eon and its new partners Amazon, and what it could mean for the series going forward.

Check out the episode at the link below:



























Edge of Darkness: Compassionate Leave

Edge of Darkness: Into the Shadows

Edge of Darkness: Burden of Proof

Edge of Darkness: Breakthrough

Edge of Darkness: Northmoor 

Edge of Darkness: Fusion











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BITE-SIZED: Final Exam (Jimmy Huston, 1981)

After murdering a couple on another campus, a killer is loose on the campus of Lanier College.


It falls to students Courtney (Cecile Bagdadi) and Radish (Joel S. Rice) to try and stop him.



Final Exam is no hidden masterpiece. But it is a good example of how the slasher genre, even in its initial run of the early eighties, was capable of playing around with its conventions.


The film is not that scary - I will admit to being checked out during the third act - but it contains a few elements which make it stand out. 


The primary one is a great character.


Joel S. Rice’s Radish is initially presented as a nerd, a familiar archetype. 


As the movie goes on, he is shown to be more fleshed out. While he is a prankster, he does not follow other examples of this character (Alfred from The Burning), and turn out to be a creep, or an annoying prankster. And he supports the final girl from a space of friendship rather than pure sexual desire.


The veteran slasher watcher in me knew he was being set up to die, but this is the rare case where his death has an emotional impact - there is a genuine sense of tragedy when he dies.


That actually goes for all of the deaths.


Like 1989’s Intruder, this film takes over half the runtime for the villain to start stacking bodies.


Because the film bothers to flesh out these characters, even though the scenes are not scary, the characters’ deaths still carry a level of viewer investment. 


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