Tag: Sebastian Stan

The Apprentice

GoMovieReviews Rating: ★★★★The Apprentice

Rated: MA15+

Directed by: Ali Abbasi

Written by: Gabriel Sherman

Produced by: Daniel Bekerman, Jacob Jarek, Ruth Treacy, Julianne Forde, Louis Tisné, Ali Abbasi

Starring: Sebastian Stan, Jeremy Strong, Maria Bakalova, Martin Donovan, Catherine McNally, Charlie Carrick.

‘If you’re indicted, you’re invited.’

A clever play on the Donald Trump TV series, (‘you’re fired’) The Apprentice, the apprentice, here, is Donald Trump.

Based on true events, the film is about the relationship between Trump (Sebastian Stan) and ruthless lawyer, Roy Cohn (Jeremy Strong).

Director Ali Abbasi states: “I hope that people, no matter how they might feel about Donald Trump, can watch the film and really experience this relationship. It’s not supposed to be an ideological attack or a polemic debate. It’s about depicting a certain complexity in these human beings.”

The film begins in the 70s, when New York was known as The Fear City.

With his father’s (Freddy Trump (Charlie Carrick)) company currently indicted for a racist policy when leasing apartments in their buildings, Donald’s dream of converting the debilitated Commodore Building into a luxury hotel is impossible.

Meet, Roy Cohn.

Roy’s first seen with a devilish look through an open doorway – he sees Trump struggling to make an impression on his date, ‘Why are you so obsessed with these people?’

Because Trump knows that the people in this place are billionaires, the decision makers with connections.

And he wants to be one of them.

Cohn takes pity on Trump.  He likes him.  So agrees to show Trump how it’s done, starting with his three golden rules of winning:

Rule 1. Attack. Attack. Attack.

Rule 2. Admit nothing. Deny everything.

Rule 3. Claim victory and never admit defeat.

Trump needs to be able to do anything to anyone.

There’s a naivety to Trump in the early days – cap in hand, knocking on tenant’s doors to collect rent.  Compared to Cohn and his connections, Trump is a mild-mannered businessman who likes the ladies.

Trump is uncomfortable drinking, he doesn’t smoke, do drugs.  Except for taking diet pills, AKA cheap amphetamine, so instead of sleeping, he can continue to make deals.

Trump loves making deals.

He also falls for Ivana.

Ivana isn’t like other girls. She’s feisty.  Ambitious.

Roy makes sure she signs a prenup.

This is Trump’s origin story.  He comes from a solid but dysfunctional family with a tyrannical father that’s ashamed of his eldest son because he’s an airline pilot.

The loose parties Cohn hosts are something Trump hasn’t seen before.

‘If you’re indicted, you’re invited.’

But Trump’s a businessman who wants success.  And Cohn is the man to get him to the top.

As Trump’s apprenticeship comes to an end, the power Trump cultivates begins to corrupt:

‘Run ‘em over Simon,’ he tells his driver as they’re stopped by an AIDS protest.

‘I’m kidding,’ he adds.

Over time it becomes apparent Trump has no shame.

“In life, there are two types of people. There are killers, and there are losers.”

—Donald J. Trump

The Apprentice is a vastly entertaining film, the image a gritty 70s vibe.

The tone is set with the red light of dabaucherous parties, the perfectly timed moments like Trump holding onto his vomit until he gets out of Roy’s car – then sputtering an upchuck out on the street to confirm his make-or-break appointment – to the city reflected in Trump’s eye as he observes his dominion.

Writer Gabriel Sherman (author of the New York Times best-selling biography of Fox News founder Roger Ailes, The Loudest Voice in the Room), states: “My worst nightmare for THE APPRENTICE was that it was going to be something predictable or bland, or on the other extreme, a political polemic that’s just one-dimensional cartoon,” Sherman says. “I wanted to write these three-dimensional characters that were complicated and flawed and surprising and frustrating just in the way that real people are.” Adds Baer: “I knew that this film would have so many inherent challenges along the way, and I didn’t want to add another one by having it perceived as a political statement by an American director.”

The Apprentice is anything but bland or predictable.

A great storyline that’s more a psychological unpacking of Trump’s origin than political statement, with pacing and pitch perfect performances make this a much better than expected film.

Insightful and entertaining.

A must watch.

 

The 355

GoMovieReviews Rating: ★★★☆ (3.2/5)The 355

Rated: M

Directed by: Simon Kinberg

Written by: Theresa Rebeck, Simon Kinberg

Produced by: Jessica Chastain, Kelly Carmichael, Simon Kinberg

Executive Producer: Richard Hewitt

Starring: Jessica Chastain, Penélope Cruz, Bingbing Fan, Diane Kruger, Lupita Nyong’o, Sebastian Stan, Edgar Ramírez.

‘They get this?  They start WWIII,’ says ex MI6 agent Khadija (Lupita Nyong’o).

And by ‘this’, she means the bad people out there getting hold of an intricate set of algorithms designed to unlock any system, in other words: a totally untraceable Master Key.

The CIA wants it, the BND (German intelligence service) wants it.  And roped into the desperate search for this potential world changing weapon are former MI6 agent, Khadija (Lupita Nyong’o) and Colombian psychologist Graciela (Penélope Cruz).

The chase crosses the globe from Paris to Morocco to Shanghai as the agents fight against each other to then be forced to work together because as Khadija says, ‘The enemy of my enemy is my friend.’

The 355 is more action than espionage as each side fights for the prize.

There’re some jumps and very near misses that ramp up the tension with visceral moments like hearing that small crack as a rib gets broken.

The storyline dabbles in the drama of these strong female leads: CIA agent, Mason Brown (Jessica Chastain) AKA Mace a loner, Graciela the out-of-her-depth psychologist wanting to get back to her family, Khadija making a go of a normal life, Chinese agent Lin Mi Sheng (Bingbing Fan) and German agent Marie (Diane Kruger) the ultimate badass and designated by the team as the one that’s the most messed up.

Director and writer Simon Kinberg (along with fellow writer Theresa Rebeck) skirts the line of working with the all-female cast without getting too girly.

Mace likens herself to James Bond but is reminded he always ends up alone.  So, the characters are given some depth in between all the hand-to-hand combat.

But there’re no real surprises here.

Yes, there’s some twists in the plot but the suspense fizzed when all the characters came into play, so the focus was more about the interaction than the tension of the story.

And I didn’t quite believe in this Master Key.

There’s still plenty of knife fights and shoot-ups and bombs exploding but the mystery fell away.  The rawness that had me in the beginning faded making The 355 an average action flick worth a watch without getting too excited about it.

Destroyer

Rated: MA 15+Destroyer

Directed by: Karyn Kusama

Written by: Phil Hay and Matt Manfredi

Produced by: Fred Berger p.g.a. Phil Hay p.g.a. Matt Manfredi p.g.a.

Starring: Nicole Kidman, Tatiana Maslany, Jade Pettyjohn, Scoot Mcnairy, Bradley Whitford, Toby Kebbell and Sebastian Stan.

A watery pair of blue eyes flicker and open, their colour washed out by the blazing sunshine. After what appears to be a night of heavy drinking slept off in the car, hungover and burnt out LAPD detective Erin Bell lumbers along to a crime scene. An anonymous victim lying in a drain bears the markings of a gang affiliation and with a dye stained note on his body. To Bell, this is a warning. Her long time arch nemesis, Silas (Toby Kebbell), is back and Bell will stop at nothing to track him down.

Whether we are introduced to him propped up at some bar or nursing a shotgun on the front porch, we can be pretty sure that a grizzled loner will somehow be redeemed by the end of the film. Things are more complicated when a female takes on this traditionally male role.

While many of the overseas reviewers have hailed Kidman’s role as a bravura performance, an almost equal number have described her character as a ‘demon-haunted’, ‘zombie,’ ‘crypt keeper’s bff,’ and ‘luxuriating in the flames of a personal hell’. At issue is the use of wigs and makeup, with many of the critics claiming the props overwhelmed the role and the Bell’s disintegration could have been more convincingly portrayed through acting. So, with the controversy in full swing, I was very curious to find out which side I would take.

One of the reasons for the differing views, is the way the film crosses genres, with some reading it as a cops and robbers thriller, others perceiving a horror movie slant, while Bell’s relationship with her estranged sixteen year old daughter Shelby (Jade Pettyjohn) lends a dramatic overtone.

Initially, the horror stems from unacknowledged trauma, when Bell as an undercover rookie was forced to watch on while a gang member is bullied into putting a loaded gun to his temple and made to pull the trigger. It is a seminal moment. If a life can be taken away as the mere setup for a joke, the change is profound. The future disappears.

For Bell, the trauma from that earlier life has been deeply etched into her being and any hope for herself abandoned long ago. That is until her fury is reawakened by Silas’s re-emergence. As she pursues her quarry through the fierce sunlight and blinding shadows of L.A’s seedier parts, Bell’s self-imposed mission takes on a more surreal and nightmarish cast, and the feeling is amplified by the parallel timeline that entwines the past and present. It is a montage of sensation, not unlike consciousness, and it creates a sense that we are viewing Bell’s quest through the unforgiving prism of her own interior reality.

Compounding Bell’s desperation, Shelby has been caught in the thrall of a charismatic but treacherous small-time thug, and seems hellbent on obliterating her own future as efficiently as possible. Even if Bell were prepared to forego redemption for her own sake (which she is not), nothing will stop her fighting for her daughter.

In her role as lone vigilante, Bell pulls out all the stops, at times breath-takingly so, and Kidman turns on an equally intense performance.  Whether she has taken a step too far into ‘hellmonster’ territory is up to you, but for me a ‘hellmonster’ is exactly what’s needed.

I, Tonya

Rated: MA15+I, Tonya

Directed by: Craig Gillespie

Produced by: Bryan Unkeless, Steven Rogers, Margot Robbie, Tom Ackerley

Screenplay by:  Steven Rogers

Cinematography by: Nicolas Karakatsanis

Starring:  Margot Robbie, Sebastian Stan, Allison Janney, Paul Walter Hauser, Julianne Nicholson, Bobby Cannavale, Mckenna Grace.

‘I was loved for a minute, then I was hated – then I was a punchline.’

Based on one of the biggest scandals in sporting history, I, Tonya shows that truth can be fluid.

The film is structured around interviews with Tonya Harding (MARGOT ROBBIE), her now ex-husband, Jeff (SEBASTIAN STAN) and Tonya’s mother, Lavona (ALLISON JANNEY), when questioned about the surrounding circumstances that led to the knee-capping of rival ice skater, Nancy Kerrigan (CAITLIN CARVER).

What fascinated writer and producer, Steven Rogers about the project was just how different the stories told by Tonya versus Jeff were about the incident that ruined her career.

Tonya is candid in her re-telling of the events leading up to that fateful incident but with the contrasting perspective of Jeff, it’s hard not to question the truth of each story.

To demonstrate: the film makers show the continued falls of Tonya on the ice, her re-telling of the episodes making the excuse of her blade being incorrectly repaired and out of alignment to flash backs of her unhealthy lifestyle of smoking and downing shots.

Although it’s difficult not to question the truth of the story, what the film gives the audience is the circumstances Tonya overcame to become an ice skating phenomenon – to this day, one of only six women in the world to make the triple axel.

And she did it 25 years ago.

A feat the film makers had to use visual effects to achieve because of the immense difficulty.

Currently, there’s only two skaters in the world to have any hope of pulling off the triple axel but are unwilling to risk injury in the lead up to competing in the Olympics.

What makes Tonya’s success all the more amazing is her difficult upbringing, as she states, ‘I don’t have a wholesome American family’.

With a mother who strives to make her angry because Tonya skates better when she feels she needs to push back, Lavona is shown in interview with cigi and pet bird on her shoulder included.

The film shows Tonya suffering abuse from her mother, pushing her to the limit from four years of age, through to her teenage years where she met Jeff who continued the abuse with his fists.

When news broke world-wide of the attack on Nancy Kerrigan, I remember thinking it was Tonya who did the deed.  An incorrect assumption.   And the film shows there’s so much more to the story than petty jealousy.

Oscar-nominated, Margot Robbie gives a gritty performance, digging deep to show the true nature and character of Tonya.

The highlight for me was Allison Janney as Tonya’s mother, Lavona – her performance had to be believable so the audience could digest her bizarre behaviour.

Sometimes truth really is stranger than fiction.

And the difficulties and destructive nature of Tonya’s relationships are the humour in the film – it’s just so bad, it’s funny.

The structure of the film, with the narrative based on the interviews, to flash backs that either support or contradict what’s being said keeps the pace running – camera work of Tonya skating is used up close and personal giving a rawness and faster-paced action.

Yet, I felt I wanted just that little bit more from the script.

I was fascinated by the different perspectives and the perversion of truth.  Yet, the incident of the knee-capping itself was down-played to the extent of a one-minute shot.

What’s a knee-capping compared to the abuse Tonya suffered her whole life?

The view taken was to show the other side of the story, not what was portrayed in the media.

The truth of the story?  It’s all about perspective.

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Captain America: Civil War

GoMovieReviews Rating: ★★★★

Directed by: Anthony Russo, Joe RussoCaptain America Civil War

Screenplay by: Christopher Markus, Stephen McFeely

Based on: Captain America by Joe Simon, Jack Kirby

Starring: Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Chadwick Boseman, Elizabeth Olsen, Paul Bettany, Jeremy Renner, Paul Rudd, Emily VanCamp, Tom Holland, Frank Grillo, William Hurt, Daniel Brühl.

With no expectation going in, I was pleasantly surprised by gutsy action and a well, thought-out storyline.  And yes, I’m just going to say it, Captain America: Civil War was heart-warming.

To be honest, the Captain America character has never appealed to me.  As Tony Stark/Iron Man (Robert Downey Jr.) says, ‘Sometimes, I just want to punch you in your perfect teeth’.

However, the film celebrates difference of opinion and differing values and cultures and that’s a definite positive of this film.

Civil War is about friendship and the difficulty in accepting differences between friends.  Who’s to say they’re right and who is wrong?  People have their reasons whether it be loyalty, the idea of doing the right thing, of looking after the little guy; and then there’s the bad manipulating the good.

The huge number of strong characters could have led to confusion, but the well-paced storyline gave every character their point and time in the spotlight.

I liked the addition of the cat-man, Black Panther (Chadwick Boseman).  And the threat of cheesiness was nicely averted with humour; the characters able to make fun of themselves and each other, particularly Iron Man and Ant-Man (Scott Lang) – just hilarious!

I admit I was a little confused at times regarding the history of the characters and how they came to fight together, which means I need to go back and re-watch some of the previous films.  And that’s a lot of watching.  Civil War is the third in the series of Captain America.  And then you have Avengers (2012) and Avengers: Age of Ultron (2015).  Plus there’s all the Iron Man series and of course the films casting all the other characters…  So there wasn’t really anything new here, either.

But when I find I’m entertained at the beginning, the middle and the end, I say that’s a good movie.

 

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