Posts Tagged ‘Natalie Dormer’

The Hunger Games: Mockingjay Part 2

Director: Francis Lawrence

Cast: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Elizabeth Banks, Donald Sutherland, Jeffrey Wright, Julianne Moore, Sam Claflin, Paula Malcolmson, Philip Seymour Hoffman, Stanley Tucci, Natalie Dormer, Sarita Choudhury, Patina Miller, Mahershala Ali, Willow Shields, Michelle Forbes

Consistency of vision is always imperative when converting a trilogy of bestselling novels into films and certainly The Hunger Games trilogy based upon the allegorical novels by Suzanne Collins have maintained that consistency in terms of casting, production design and overall cinematic appeal.

Whether parent company Lionsgate’s decision to split the final installment of The Hunger Games, Mockingjay was a wise one remains debatable. Nevertheless director Francis Lawrence returns with the second part of The Hunger Games: Mockingjay picking up exactly where the first part finished.

Peeta Mellark has been returned to the rebels from the capitol, although slightly deranged and brainwashed. Our sturdy heroine Katniss Everdeen, beautifully played by Oscar winner Jennifer Lawrence (Silver Linings Playbook) is unsure of Peeta’s complete rehabilitation and loyalty.

In a brutal war, which takes Katniss and her team first to District 2 and then onto a treacherous mission of penetrating the devastated capitol, where images of the aging President Snow, still wonderfully played by Donald Sutherland, are flashed across random TV screens at interim moments during a savage battle between the rebels and peacekeepers. Urged on by the charismatic District 13 President Coin, played by Oscar winner (Still Alice) Julianne Moore, Katniss and her unit are implored to take the capitol and assassinate President Snow.

As the love triangle which was initiated in The Hunger Games, between Katniss, Peeta and the hunky Gale Hawthorne, played by Liam Hemsworth is teased out to its logical conclusion, Katniss has to stay true to her own convictions, despite the brutal toll it takes on herself and her family. Katniss realizes in Mockingjay Part 2 that she is a symbolic pawn between Presidents Snow and Coin, while always struggling to retain her own autonomy and individuality.

Woody Harrelson and Elizabeth Banks reprise their roles as Haymitch and Effie Trinket respectively, although audiences should be warned that Mockingjay Part 2 is considerably darker in tone and texture than the lurid The Hunger Games or the visually gripping Catching Fire.

A dark mood of warfare and finality hangs over the film, even with the cast giving a sense that this violent action trilogy has exhausted all options. Considering the recently high level of violence in the contemporary world, especially as shown on international news broadcast, suffice is to say that American author Suzanne Collins has made her point about millennials becoming immune to violence both on screen and in real life.

Despite an all-star cast including the last screen appearance of Oscar winner Philip Seymour Hoffman (Capote) as Plutarch Heavensbee, Mockingjay Part 2, belongs to Jennifer Lawrence and Josh Hutcherson as their characters come to terms with their dramatic destiny in the face of a manipulative conflict between the Rebels and the Capitol.

The Hunger Games: Mockingjay Part 2 is recommended viewing for fans of the entire trilogy although the 3-D technology was not used effectively, making the second part of Mockingjay too long and aimless. Inevitably, Katniss Everdeen triumphs but at great personal cost to herself.

The Riot Club

Director: Lone Scherfig

Cast: Max Irons, Douglas Booth, Matthew Beard, Sam Claflin, Freddie Fox, Holliday Grainger, Natalie Dormer, Samuel West, Tom Hollander, Tony Way, Julian Wadham

Based on Laura Wade’s play Posh and with the skillful direction of Danish film maker Lone Scherfig (An Education), The Riot Club assembles a cast of the next generation of British thespians from Oscar winner Jeremy Iron’s son Max Irons as well as Edward Fox’s son Freddie Fox along with the dashing Douglas Booth (Romeo and Juliet), Sam Claflin (Snow White and the Huntsman) and Holliday Grainger (Great Expectations) in a truly brilliant diatribe about the hidden debauchery of the aristocracy.

What makes The Riot Club even more brilliant is Scherfig’s superb use of tension in the film as the second half really does raise debauchery and menace to an art form, with horrific consequences.

The Riot Club focuses on a privileged group of Oxford freshman who form a secret society, a sort of uninhabited Lord of the Flies style gathering in which the ten member group have to outdo each other in decadence, bravado and more significantly stamina, something most young men are extremely competitive about.

With the taglines of Filthy, Rich, Spoilt, Rotten, The Riot Club truly does show the terrible side of young and obnoxious men behaving extremely badly from trashing University dorm rooms to the disgusting initiation procedures a young man will go through to belong to this elite and secretive club.

This is hazing at its worst along with the cunning and knowing ability which shines through especially in the second half of this film, that no matter how disgusting or debauched their activities get, The Riot Club will manage to get away with it, relatively unscathed. In this privileged aristocratic circle, money truly does buy them everything except in this case decency and consideration for their fellow man.

The Riot Club is disturbing at the best of times, captivating and utterly debauched and aptly directed by Scherfig who as a female director superbly shows how the pack mentality in men can lead to the most heinous of acts. Audiences should watch out for cameo’s from rising Game of Thrones star Natalie Dormer as a high class escort as well as an excellent performance by Holliday Grainger as Miles Richards’s (Max Irons) girlfriend Lauren who does not come from the aristocracy and whose merchant background is used as a weapon to humiliate her when she is mistakenly called to the raucous dinner at an old English pub outside Oxford, where literally all hell breaks out.

It’s at this dinner, making up the exceptional second half of the film, that the Riot Club really live up to their horrendous reputation with copious amounts of heavy drinking and drug taking which fuels these aristocrats libido and aggression.

The Riot Club shows off the menacing side of the posh British upper classes and also the exclusivity of the landed gentry who think that despite their actions they are continually above the law because of the vast wealth. Highly recommended viewing but not for those easily offended.

The Hunger Games: Mockingjay Part 1

Director: Francis Lawrence

Cast: Jennifer Lawrence, Liam Hemsworth, Josh Hutcherson, Woody Harrelson, Julianne Moore, Jeffrey Wright, Elizabeth Banks, Phillip Seymour Hoffman, Natalie Dormer, Donald Sutherland, Robert Knepper, Paula Malcolmson, Sam Claflin

The final book of the Hunger Games Trilogy, Mockingjay comes to the big screen in two parts, Hunger Games: Mockingjay Part 1 is a monochromatic diatribe about notions of war as a constructed image, and intelligently explores the concept of rebellion.

Katniss Everdeen, superbly played by Oscar Winner Jennifer Lawrence (Silver Linings Playbook) has survived the Quarter Quell and plunged Panem into civil war between the Capital and the Districts, with her own District 12 being obliterated by the ruthless Capitol bombers.

Director Francis Lawrence creates a superb dichotomy between a more vicious Capital and the newly discovered District 13, a haven for the rebels built entirely below ground so as to escape the Capital’s firepower. Utilitarian District 13 ruler Madame President Coin, wonderfully played by Oscar Nominee Julianne Moore has plans of using Katniss as the much beloved symbol of resistance, the Mockingjay.

However in the Capital, President Snow, played by veteran star Donald Sutherland has captured Peeta Mellark, the tribute who didn’t escape the Quarter Quell and like Coin is using Mellark (Josh Hutcherson) in a vicious game of propaganda and deceit to lure Katniss and her supporters into attacking the Capital.

In this manipulated game of propaganda, both Katniss and Mellark are used as constructs by a ruthless war machine intent on destroying humanity in this allegorical society. With Katniss being filmed against the ruins of one of the Districts after a hospital is destroyed, the viewer would think they are watching scenes of the recent conflict in the Syrian Civil War or the Crisis in the Ukraine.

Director Lawrence obviously working with a far bigger budget, has a clearer vision of this dystopian world post Hunger Games, after the lavish excess of the Capitol and the vicious expandability of the children fighting each other in a death match which made the first two films The Hunger Games and Catching Fire that much more riveting.

Whilst in the first two, the children or tributes as they were known in Suzanne Collins novels were the centre of attention, in Mockingjay it is clearly an adult world, with war a primary signifier in moving the brutal narrative along, ably assisted by a brilliant supporting cast.

This cast includes Oscar winner Phillip Seymour Hoffman (who incidentally died of a drug overdose during the filming of Mockingjay) in one of his last screen performances as Plutarch Heavensbee, Elizabeth Banks in a wonderful cameo as the downtrodden Prisoner of War yet still irrepressible Effie Trinket, along with Woody Harrelson as Haymitch and Jeffrey Wright as Beetee who all bring a gravity to Katniss’s predicament as her decision to become the symbol of the rebellion is thwarted by President Snow’s twisted methods especially using Mellark as a pawn.

The Hunger Games and Catching Fire was clearly aimed at the mature teenage market, but Mockingjay Part One is definitely aimed at a more mature audience whose has become used to seeing violent images of global conflicts flash across their TV screens. Even though it’s an allegorical tale Mockingjay Part 1 undoubtedly reflects a contemporary 21^st century immunity to violent onscreen images of war, highlighting that along with all the propaganda and the rhetoric, the constant bloodshed seen has become engrained in a future society which appears to be emotionally resistant to such global strife, despite its constant coverage on all the international news broadcasts.

Mockingjay Part 1, although the storyline purposefully is left hanging at the end, still remains an impressively dark cinematic vision, gripping and unrelenting. Audience naturally hope that Part 2 will be equally brilliant and impressive. This is recommended viewing for those that have read the books and have followed the massive success of this ferocious and fascinating film franchise.

Rush

Director: Ron Howard

Cast: Chris Hemsworth, Daniel Bruhl, James Norton, Olivia Wilde, Christian McKay, David Calder, Julian Rhind-Tutt, Natalie Dormer, Pierfrancesco Favino

Oscar winning director of A Beautiful Mind Ron Howard tackles the fast and affluent world of Formula One Motor Racing in the new biographical drama Rush centering on the brutal and brash rivalry between reckless English racing driver James Hunt, gorgeously played by Australian actor Chris Hemsworth and cautious Austrian driver Niki Lauder, brilliantly played by the European actor Daniel Bruhl.

Screenwriter Peter Morgan (The Queen), who first collaborated with Howard on the slick film version Frost /Nixon offers a crisply written script, as the narrative of Rush doesn’t waste time showing the glamorous international and ruthless world of Formula One racing with drivers speeding around the circuits of Monaco, Kyalami, Monza, Valencia and Sao Paolo. Yet despite all the thrill, danger and spectacle, Morgan weaves a brutal and exacting tale of professional rivalry between Lauder and Hunt framed within the media-frenzied competitive jet set world of Formula One, presenting an ego driven portrait of two men at the peak of their careers, just as he did in the exemplary Frost / Nixon.

The film’s stunning opening scene features Hunt seducing a British nurse played by Natalie Dormer (W.E.) which immediately sets the tone for the 1970’s, a decade known for easy sex, drugs and partying, providing an insight into a carefree decadent era in which the ambitious race car drivers soon graduate to Formula One. Where Lauder is mechanically minded, disciplined and ambitious, James Hunt is reckless, celebrity driven and risk seeking, a driver who is never shy to compete in an ongoing bitter global challenge to become the Number 1 World Championship Racing Car Driver.

Lauder’s wife Marlene is played by Romanian actress Alexandra Maria Lara and the gorgeous Olivia Wilde makes a stunning appearance as beautiful swish model Suzy Miller who soon becomes James Hunt’s wife, despite his reckless lifestyle. From Ibiza to Bologna, from Sao Paulo to Germany, Rush is a superbly orchestrated biopic of the rivalry between these two Champions of the World, and for all those fans of Formula One, this film is not to be missed. Especially look out for the vividly recreated infamous crash sequence that Niki Lauder is involved in as he gets trapped in a fiery Ferrari in the Nurburgring racetrack in Germany in August 1976 along with the riveting final race of the season set on a rain-soaked Japanese track in the shadow of Mount Fiji.

Spanish-German actor Daniel Bruhl best known for Inglourious Basterds is utterly believable as the goal-driven and infamously determined Austrian racing driver Niki Lauder whilst Hemsworth (Snow White and the Huntsman, Thor) proves his worth as a versatile Shakespearean trained actor producing an upper crust English accent. The real star of Rush besides the excellent script and film direction is the unbelievable sound editing, which makes this film all the more worthwhile and gripping in a Digital Cinema. Highly recommended for the glitz bravado, the incredible speed and the blood stained price of success, Rush is a well-crafted film, a winning formula that elegantly delves into a fast paced racing arena really suitable for playboys and daredevils.

W./E.

Ravishingly told!

Madonna’s directorial debut focuses on the stylish romance and subsequent marriage of King Edward VIII to swanky American divorcee Wallis Simpson in 1936 in the period drama W/E sparking the abdication of the King in one of the most scandalous romances of the 20^th century. W/E also has a concurrent narrative of a Park Avenue socialite Wally Winthrop who after leaving her job at Sotheby’s Auction House in New York falls into a loveless and cruel marriage with a heavy-drinking and bitter psychiatrist played by Richard Coyle. In both instances Wallis Simpson, played by Andrea Riseborough and the fictional character of New Yorker Wally played by Australian actress Abbie Cornish suffer abuse by their violent  first husbands, Madonna attempts to highlight more the plight of privileged woman physically abused by powerful men.

Not that W/E is just about gender violence, but more about the romance and sacrifice that both King Edward VIII, known as David, played by James D’Arcy and Wallis Simpson enjoyed and endured as their love carried them through the abdication crisis, media scrutiny and lavish exile in France. Not to mention that both Edward and Wallis, who become the Duke and Duchess of Windsor were vilified in the American and British press in the years leading up to the outbreak of World War II for apparently being Nazi sympathizers following a prolific meeting with Hitler in 1937.

Naturally W/E should be seen as a lesser companion piece to the Oscar winning Tom Hooper film The King’s Speech focusing on King George VI also know as Bertie who had to cope with the abdication of his older more articulate brother Edward along with Britain’s eventual entry into World War II in September 1939. The last five years of the 1930’s was an extremely unstable period both politically and socially with many geopolitical changes  occurring rapidly with the military expansion of Nazi Germany in Europe and the impending threat of World War. During the war years the exiled Duke and Duchess of Windsor lived in the Bahamas where he was Govenor according to the fascinating life of Wallis Simpson – http://en.wikipedia.org/wiki/Wallis_Simpson

Benzedrine in the Champagne

Through historical footage, Madonna shows us not only the historical aspects of this period, but of the lavish and all together captivating love affair which occurred between Edward, the then Prince of Wales and the forthright American from Baltimore Wallis Simpson, as the couple become the darlings of the international Mediterranean party scene from Cannes to Portofino. The Prince of Wales offered gorgeous gifts of custom made Cartier crosses to his love, Wallis Simpson as they frolicked in the surf in the French Riviera. The dashing and charming Edward, who felt nothing of popping Benzedrine into guests Champagne glasses at a Belgravia midnight screening and soon got the party started  with Wallis Simpson, doing a particularly zany thirties jive with pearls flying and music blasting. In this fabulous party scene that W/E depicts Wallis and Edward as the epitome of celebrity chic, the opulent couple worshiped by the established international elite made up of wealthy Americans and Britons who made the French Riviera their fashionable playground.

The Sotheby’s Auction in New York

Whilst the second narrative of Wally befriending a Russian immigrant security guard Evgeni played by Oscar Isaac at the 1998 Sotheby’s  Auction of the gorgeous possessions of the Duke and Duchess of Windsor in New York that is lovingly fleshed out in the second part of W/E, it is really also just as significant since Wally eventually travels to Paris to fulfil her obsession with Wallis Simpson by requesting to read the Duchess’s private letters held by Mohamed Al Fayed at the Duke and Duchess’s former Parisian chateau near the Bois du Bologne,  father of Dodi who was killed along with Diana, the Princess of Wales in the fatal 1997 car crash in Paris a year before that makes this quest on Wally’s part both liberating and poignant.

Madonna’s real talent lies in her music but her hand as a director of such an interesting subject as the love affair between Wallis and King Edward should not be discounted as she focuses more on their lavish affair which become internationally known as the Romance of the Century.

From a feminist perspective, Madonna’s lavish film W/E is more about style than substance with engaging shots of New York and Paris, yet even the relevant character sketching scenes portray both the affluent Wally in 1998 and the stylish Wallace in 1936 as emblematic of how woman throughout the centuries no matter how gorgeously attired they are, can also become victims of physical violence and social scorn. The film is adequately assisted by a heart rendering musical score by Abel Korzeniowski and stylish costumes by Arianne Phillips and will appeal to all lovers of stylish period dramas.

*