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American Assassin

Director: Michael Cuesta

Cast: Dylan O’Brien, Michael Keaton, Taylor Kitsch, Sanaa Lathan, David Suchet, Scott Adkins, Shiva Negar, Navid Neghban, Charlotte Vega

Kill the Messenger director Michael Cuesta returns to the big screen with his next film the action packed globetrotting American Assassin starring Dylan O’Brien (Deepwater Horizon) as Mitch Rapp and Michael Keaton (Spotlight, Birdman) as his CIA trainer Stan Hurley.

American Assassin opens on an idyllic Spanish beach in Ibiza whereby Mitch is videoing his gorgeous girlfriend Katrina swimming and whereupon he soon proposes to her. The romantic seemingly delightful scene is shattered when terrorists open fire on the beach goers in a horrific scene that which mirrored a real life attack in Tunisia.

Then back in America, Mitch is recruited by the CIA after a failed attempt to take revenge on the perpetrators of the attack. He is sent off for training in Virginia by the tough Hurley whilst the deputy director Irene Kennedy played by Sanaa Lathan (Now You See Me 2) is handling a bigger crisis: weapons grade plutonium has been stolen from an abandoned site in Russia and is currently being sold on the black market by a rogue mercenary simply known as Ghost played with psychopathic intensity by Taylor Kitsch (Lone Survivor, Savages).

The action moves to Istanbul, Turkey whereby Mitch teams up with CIA counter-terrorism operative played by Iranian-Canadian star Shiva Negar as they hunt down the Ghost and through various political intrigue between the Iranians and the CIA, they discover that this lethal rogue mercenary plans on using the plutonium to maximum effect in the Mediterranean.

From Istanbul to Rome, the action is swift with the 26 year old Dylan O’Brien holding his own as a lead actor in a big budget action film as he beefs up thanks to his experience on the hugely popular Maze Runner franchise.

Audiences should take note that there is a gruesome torture scene in a sprawling refugee housing project outside Rome.

American Assassin is a thrilling action film at face value, expertly shot by Cuesta and making use of the extensive locations from Virginia to Dubai. Gritty, fast paced and definitely entertaining, with the most notable scenes being the Virtual Reality assassin practice sequence as well as the speedboat fight scene on the Mediterranean.

American Assassin gets a film rating of 7 out of 10 and is recommended viewing for action film fans.

The film is not quite in the category of the spy thriller Jason Bourne but definitely worthy enough to be classed within the same gritty, espionage globetrotting genre, which has become such a lucrative money spinner. Perhaps director Michael Cuesta will consider making a sequel maximizing the potential of its hunky young lead star, Dylan O’Brien.

Logan Lucky

Director: Steven Soderbergh

Cast: Channing Tatum, Adam Driver, Daniel Craig, Katie Holmes, Hilary Swank, Riley Keough, Seth MacFarlane, Brian Gleeson, Jack Quaid, Sebastian Stan, Katherine Waterson, David Denham

Director Steven Soderbergh has an inventive filmography including Contagion, Side Effects and the Oscar winning films Traffic and Erin Brockovich.

He returns to the big screen with the redneck caper film Logan Lucky starring Channing Tatum and Adam Driver as unfortunate West Virginia brothers Jimmy and Clyde Logan who together with their younger sister Mellie played by Legendary singer Elvis Presley’s granddaughter Riley Keough (Mad Max: Fury Road, Magic Mike) who concoct a plan to steal cash from the Nascar Speedway during a major Racing event in Charlotte, North Carolina.

In order to break into the air locked vault of the cash rich Speedway, the Logan brothers enlist the assistance of incarcerated Joe Bang wonderfully played in a stand out (possibly Oscar worthy) performance by James Bond star Daniel Craig who obviously was desperate to breakout of  the 007 image.

Which is what makes Logan Lucky all the more fascinating. Soderbergh’s uncanny ability to assemble a really good cast to tell an extraordinarily clever story almost rival’s that of the cinematic auteur Woody Allen in his comic films like Café Society.

Except that Logan Lucky is a far cry from the glamourous Golden age of Hollywood of Café Society. Logan Lucky is an exceptionally funny film and almost bizarrely told with a deadpan sense of timing that makes the heist which they seemingly pull off even more unbelievable.

In order for Joe Bang to assist the Logan brothers he has to enlist the help of his own two hillbilly brothers Fish and Sam Bang, superbly played by rising stars Jack Quaid (son of Meg Ryan and Dennis Quaid) and Brian Gleeson (The Eagle, Snow White and the Huntsman) son of Brendan Gleeson.

The unbelievably stupid Bang brothers unlike the Logan brothers feel that committing a crime would be immoral but when the lure of big cash is promised their assistance is secured unequivocally.

What follows is an ingenuous heist film centred on the Nascar Car Racing Event in Charlotte, North Carolina, in the South, below the Mason-Dixon Line where the Southern drawl is pronounced and patriotism to the American flag is unwavering.

With Soderbergh’s trademark use of cameo appearances of big stars including Seth MacFarlane, Katie Holmes, Sebastian Stan and Oscar winner Hilary Swank (Boys Don’t Cry, Million Dollar Baby) as FBI Special Agent Sarah Grayson who post-heist desperately tries to catch the culprits only to land up at a West Virginia bar being served by a one armed bartender, Logan Lucky is a character driven film about ordinary citizens wanting to better themselves in a semi-impoverished backwater.

Audiences would have to watch Logan Lucky to enjoy Channing Tatum, Adam Driver and an excellent Daniel Craig in a hillbilly heist comedy about outback losers who plan on getting back at the system which has kept them downtrodden and unemployed. Highly Recommended viewing for those that enjoyed the Ocean’s Eleven Trilogy without the glamour.

Logan Lucky gets a film rating of 7.5 out of 10 and is immensely enjoyable.

American Made

Director: Doug Liman

Cast: Tom Cruise, Sarah Wright, Domhnall Gleeson, Caleb Landry Jones, Jesse Plemons, Jayma Marks, Lola Kirke, Alejandro Edda, Benito Martinez

Fair Game, Edge of Tomorrow and Mr & Mrs Smith director Doug Liman reunites with his Edge of Tomorrow blockbuster star Tom Cruise (Top Gun, A Few Good Men, The Last Samurai) in American Made giving Oscar nominee Tom Cruise (Jerry Maguire, Magnolia) an opportunity to act out of his franchise restricted roles in Mission Impossible and Jack Reacher movies.

Cruise’s boyish charm and cheeky bravado is put on full display in American Made when he plays TWA pilot Barry Seal who after initially smuggling banned Cuban cigars into the US, gets recruited by a brash CIA agent Monty Schafer played by Domhnall Gleeson who asks him to run reconnaissance missions in Central America mainly in Nicaragua, Honduras and then further down to drug riddled Colombia.

Soon Barry gets caught up with the Medellin drug cartel in Colombia working for a gang of swarthy and ruthless Latino’s including Pablo Escobar and is flying drug running missions from Medellin back to America.

In the meantime, because of the associated risks involved, Barry hastily moves his wife Lucy played by Sarah Wright and children from Baton Rouge, Louisiana to Mena, Arkansas.

In the quiet town of Mena, Arkansas with funding from both the CIA who want Barry to spy on the drug cartels and with exorbitant amounts of cash the Medellin cartel are paying him, the town starts booming financially until things go horribly wrong specifically when Lucy’s redneck brother JB wonderfully played by Caleb Landry Jones gets arrested by Sheriff Downing played by Jesse Plemons (Black Mass).

Mozart in the Jungle star Lola Kirke (Mistress America, Gone Girl) has a brief appearance as the suspicious Sheriff’s wife Judy Downing.

The unmanageability of Barry’s life rapidly begins to spiral out of control when he is accosted by drug enforcement agencies as well as trying to appease the brutal Medellin control in between being caught up in all sorts of international Reagan era political intrigue involving American backed rebels fighting the Communist Sandinista’s in Nicaragua. https://en.wikipedia.org/wiki/Nicaragua

Tom Cruise gives one of his best onscreen performance in a convoluted film sufficiently directed by Doug Liman while the script does not give sufficient screen time to the supporting actors of whom Caleb Landry Jones (Contraband) stands out as the reckless brother-in-law who inadvertently draws attention to the Mena Medellin drug run shuffle. The best line in the film is “I am the Gringo that delivers stuff”.

If audiences enjoyed films like Kill the Messenger, then American Made is similar viewing held together by Cruise’s flying bravado which first captivated audiences in the hit film Top Gun.

American Made gets a film rating of 7.5 out of 10 while the flashback structure of the narrative is cleverly crafted in a palatable cinematic style, so that the film’s ending is shocking but not unexpected. Recommended viewing.

Additional Source: https://en.wikipedia.org/wiki/Medell%C3%ADn_Cartel

Detroit

Director: Kathryn Bigelow

Cast: John Boyega, Will Poulter, Algee Smith, Jacob Latimore, Jack Reynor, Hannah Murray, Kaitlyn Dever, John Krasinski, Anthony Mackie, Ben O’Toole, Jennifer Ehle

Oscar winning director of The Hurt Locker, Kathryn Bigelow comes with an impressive resume of films including Zero Dark Thirty. In her latest film with screenwriting partner Mark Boal Detroit, they viscerally tackle police brutality and racial tension in Motown, once the centre for the American automobile industry.

Detroit features a cleverly cast group of emerging young actors including British stars John Boyega (Star Wars: The Force Awakens) and Will Poulter (The Revenant), while director Bigelow dissects in vivid and intense detail a murderous incident at the Algiers Motel on the night of the 25^th July 1967.

Bigelow goes beyond racial polarities and cinematically retells a terrible incident whereby a young group of African American men were terrorized by White police men at the Algiers Motel headed by the sadistic Krauss excellently played by Will Poulter in one of his most prolific onscreen roles.

The group of African American singers headed up by Larry played by Algee Smith are equally traumatized by the lengthy incident when all they wanted to do was establish their singing group The Dramatics hoping to raise a similar celebrity status to The Supremes as they attempt to perform in downtown Detroit when a riot causes the show to be cancelled.

This was the Midwest in 1967. The American civil rights movement was in full swing as was the deployment of troops in the infamous war in Vietnam. American society was transforming exponentially.

Detroit is an extremely important film about visual identification and racial representation made pertinent by the ongoing debate about whether director Kathryn Bigelow as a white female director is the right person to be retelling the horrific Algiers incident whereby white policemen play the death game on the group of young African American men and taunt them because they are courting two young white prostitutes Julie played by Hannah Murray and Karen played by Kaitlyn Dever.

The three policemen responsible for the incident are Demens played by Jack Reynor (Macbeth, Sing Street), Flynn played by Ben O Toole (Hacksaw Ridge) and the aforementioned Krauss. John Boyega plays Dismukes a young African American man working two jobs one in a an automobile factory and the other as a night security guard who stumbles on the events at the Algiers when Carl played by Jason Mitchell shoots a toy gun at the National guard in the midst of inner city race riots.

What stood out in Detroit was how all the characters both Black and White are affected by a heightened level of inherent violence and male aggression, something which Bigelow highlights and Detroit suggests that this aggression is endemic in American society regardless of skin colour.

Framed against the incident is also the emotional story of Larry’s refusal after the event and subsequent trial to continue performing in The Dramatics at downtown nightspots where mostly white policeman can enjoy Motown music.

The racial signifiers in Detroit are complex but the narrative tension is brilliantly executed with a resonance and skill rarely seen in contemporary cinema. Detroit is an important film for everyone to watch, contributing to a cinematic study of race relations internationally and raises pertinent questions of visual representation.

Detroit gets a film rating of 8 out of 10. Highly recommended viewing for those that enjoy intelligently told docudramas about the turbulent 1960’s in America.

The Hitman’s Bodyguard

Director: Patrick Hughes

Cast: Ryan Reynolds, Samuel L. Jackson, Gary Oldman, Salma Hayek, Elodie Yung, Joaquim de Almeida, Sam Hazeldine, Rod Hallett, Richard E. Grant

Despite an international cast, director Patrick Hughes stylistically violent action film The Hitman’s Bodyguard becomes a warped buddie movie with Samuel L. Jackson starring as Darius Kincaid a foulmouthed assassin who unwillingly teams up with the executive protection agent Michael Bryce played by Canadian Deadpool star Ryan Reynolds.

After an explosive opening sequence in Manchester, England and then followed by an equally hectic sequence in Coventry, Bryce is tasked with transporting Kincaid intact to the International Criminal Court in The Hague, Netherlands to testify against evil Belarussian dictator Vladislav Dukhovich played by Oscar nominee Gary Oldman (Tinker Tailor Soldier Spy) complete with dodgy accent.

What was Gary Oldman thinking appearing in such a film?

Then again what was another Oscar nominee Mexican star Salma Hayek (Frida) thinking appearing as the equally foulmouthed Honduran jailbird Sonia Kincaid wife to Darius?

Even the two sequences with Hayek and Jackson are drizzled in bloodshed which is pitiful considering that it detracts from any potential onscreen chemistry.

Clearly all the stars involved in The Hitman’s Bodyguard did not act in this film to further their careers.

Then again, obviously the director of The Expendables 3, Patrick Hughes knows that his audience is not going to take the film too seriously if he packs The Hitman’s Bodyguard with excessive violence that the film becomes stylistically nauseating especially considering the events that are currently happening in 21^st century Europe including multiple random acts of terror in every city from London to Barcelona.

The only redeeming feature of The Hitman’s Bodyguard besides the onscreen sparing between Reynolds and Jackson is the multi chase sequence in Amsterdam involving a ski boat, motorcycle and various vehicles along the Dutch canals.

Action fans will be satisfied as basically every city featured in The Hitman’s Bodyguard gets shot at and blown to smithereens from Manchester to Amsterdam to The Hague.

Unlike director Edgar Wright’s excellent Southern crime caper Baby Driver, the action sequences in The Hitman’s Bodyguard is repulsively manufactured and the violence is deliberately pornographic. The story is definitely thin on content which underscores the question why such normally bankable stars including Ryan Reynolds, Gary Oldman and Samuel L. Jackson would consider acting in such an excessively violent film without a pause to think what the real cinematic message conveys: That violence is acceptable internationally?

Even the brief appearances by character actors Richard E. Grant and Portuguese star Joaquim de Almeida as a sinister Interpol agent do not redeem the narrative in any significant way.

The Hitman’s Bodyguard gets a film rating of 6.5 out of 10 and is big on action, violence, bloodshed and a massive body count (mostly of mean looking Belarussians) and low on nuanced content. Entertaining to an extent but way over done.

My Cousin Rachel

Director: Roger Michell

Cast: Rachel Weisz, Sam Claflin, Iain Glen, Holliday Grainger, Pierfrancesco Favino, Andrew Knott, Tim Barlow

South African born British based director Roger Michell has been responsible for such films as Notting Hill, Changing Lanes, Morning Glory and Hyde Park on Hudson. Michell returns with a cinematic adaptation of the Victorian Gothic romantic drama by Daphne du Maurier My Cousin Rachel set in the dramatic cliffs of Devon and Cornwall and also in Florence Italy.

My Cousin Rachel is a handsome cinematic production held together by a suitably ambiguous performance by Oscar winner Rachel Weisz (The Constant Gardener, Youth) as Rachel Ashley who arrives in England to seduce the impressionably young Philip Ashley wonderfully played with besotted bewilderment by Sam Claflin (Me Before You, Their Finest and The Riot Club) who is proving to be one Britain’s rising young actors.

When young Philip’s legal guardian travels to Tuscany to recuperate and then mysteriously dies, leaving Philip’s claim to his cousin’s massive estate in a precarious position, Philip travels to Italy to uncover the source of the mystery surrounding his new relative the beautiful Rachel. Upon arrival in Italy he does not meet Rachel but the Italian lawyer handling his cousin’s affairs played by Pierfrancesco Favino (Rush, Angels and Demons), who Philip suspects is conniving with Rachel to steal Philip’s rightful inheritance.

Back in England, advised by his godfather Nick Kendall played by Game of Thrones star Iain Glen and his daughter Louisa played by Holliday Grainger (Cinderella, The Finest Hours and Anna Karenina), Philip is initially weary of Rachel as she sets foot on English soil soon to arrive at the family home at dusk.

Incredibly dramatic, the one thing Philip has not had in his life is any female influences so naturally he is completely beguiled by the beautiful and exotic half Italian Rachel who makes such a fashionable entrance in local society, which is enough to cause a mild scandal.

But as family jewels are generously given away and as Philip approaches his 25^th birthday upon which he will rightfully inherit his cousin’s massive estate, intrigue within the landed gentry is heightened by the scheming and provocative Rachel who often dressed in mourning is portrayed as a sort of Black Widow, a woman with a rumoured  history of killing off husbands to profit off their inheritances.

My Cousin Rachel is the Victorian femme fatale, a noir female character who is subtly undermining all that the male hero is trying to achieve, which in this case is quenching his unbridled lust matched only by Rachel’s own unbridled extravagance. Sexual tensions simmer as the scheming continues, but as the narrative draws to a dramatic conclusion, My Cousin Rachel leaves audiences with a portrait of a woman with considerably dubious intentions.

My Cousin Rachel gets a film rating of 7 out of 10 and will be enjoyed by audiences that love period dramas with a touch of the Victorian Gothic, especially scenes of luminous pearls cascading down darkened candlelit staircases.

The Wound

(INXEBA)

Director: John Trengrove

Cast: Nakhane Toure, Bongile Mantsai, Niza Jay, Thobani Mseleni

Director John Trengrove’s film The Wound about ritual circumcision practices in the rural Xhosa community is sure to generate discussions around patriarchy, cultural taboos and more controversially homosexuality.

The Wound premiered internationally at the Sundance Film Festival http://www.sundance.org/festivals/sundance-film-festival/ held in Park City, Utah in January 2017 and later opened the Berlinale Panorama at the Berlin International Film Festival in the same month.

The Wound had its South African premiere at the Durban International Film Festival (DIFF) in July 2017 http://www.durbanfilmfest.co.za/ At the 38^th Durban International Film Festival, John Trengrove won Best Director for The Wound and Nakhane Toure  who plays the main character Xolani deservedly won Best Actor.

The Wound also had its premiered at the 7th Annual Durban Gay and Lesbian Film Festival http://www.dglff.org.za/

Scheduled for commercial release in South Africa in early 2018, The Wound is already generating controversy and passionate discussion on social media and given the amount of publicity around the film it is sure to inject life into contemporary 21^st century South African film analysis.

The story focuses on a lonely factory worker Xolani who works in Johannesburg but travels back to the mountains of the Eastern Cape to initiate a group of teenage boys into manhood through the Xhosa cultural practice of ritual circumcision under the supervision of his male tribal elders.

The Wound is about a sexually charged love triangle between Xolani played by Nakhane Toure, Vija played by Bongile Mantsai and the young Kwanda played with a precocious abandonment by Niza Jay framed within an almost secretive cultural practice of the Xhosa ritual circumcision ceremonies which takes place in the mountainous Eastern Cape province of South Africa.

As a piece of cinema, The Wound is riveting entertainment and certainly an eye opener in many respects beautifully directed by John Trengrove who in keeping with the desire to make an authentic ethnographic film smartly has all the dialogue in Xhosa and has no female characters since the narrative focuses on the complex relationships between initiates and caregivers which dominates many patriarchal societies especially where rights of manhood are concerned.

Comparisons are there for many viewers in similar societies internationally, but what is more perplexing about The Wound is Xolani’s ultimate choice to free himself of his hidden sexual identity. A choice which appears to be devoid of moral consequence.

The Wound is a fascinating portrayal of masculinity, hidden love and how society shapes rituals to transform teenage boys into brave and tough men. Which is also not specific to the Xhosa tribe, but to many other cultures and nationalities worldwide where it is imperative to prepare the men for a prescribed role of familial provider, defender and protector.

Provocatively, The Wound will certainly generate significant discussion around visual interpretations of patriarchy and sexuality which makes the film all the more relevant, relentless and resonant.

Highly recommended viewing, The Wound is film making at its best and should fare brilliantly as South Africa’s official entry for Best Foreign Language Film at the 2018 Academy Awards aka the Oscars. If it does get nominated, then The Wound will join a canon of international world cinema which delves intimately into subjects which are essentially taboo in their home countries.

The Wound gets a Film Rating of 8.5 out 10. Ultimately, the wider audience needs to see this film and challenge their own preconceptions.

Viceroy’s House

Director: Gurinder Chadha

Cast: Hugh Bonneville, Gillian Anderson, Michael Gambon, Simon Callow, Lily Travers, Manish Dayal, Om Puri, Huma Qureshi, Simon Williams

Bend it Like Beckham Kenyan born, British director Gurinder Chadha’s handsome post-colonial film Viceroy’s House about the partitioning of the Indian subcontinent in August 1947 effortlessly blends documentary footage of the historic event with gorgeous production design and exquisite costumes.

Fresh from his success as playing Robert Crawley, Earl of Grantham in the hit BBC series Downton Abbey, Hugh Bonneville turns in a nuanced performance as Lord Louis Mountbatten the last Viceroy of India who has daunting task of giving India its independence after 300 years of British rule.

Lord Louis Mountbatten is accompanied by his affected yet compassionate wife Lady Edwina Mountbatten played by Gillian Anderson (Shadow Dancer, The Last King of Scotland). Lily Travers (Kingsman: Secret Service, Me Before You) plays their daughter Lady Pamela Hicks.

The actual task of dividing the subcontinent into India and Pakistan so brilliantly written about in Salman Rushdie’s seminal post-colonial text Midnight’s Children is taken up by Sir Cyril Radcliffe in Viceroy’s House superbly played by Simon Callow the stalwart supporting actor of all those Merchant Ivory film’s in the 1980’s and 90’s from A Room with a View to Howard’s End and Jefferson in Paris.

Sir Radcliffe after admitting that he has never stepped foot in the Punjab admits that this is “a monstrous responsibility for one man”.

Equally on edge at the thought of a massive subcontinent being divided and suddenly changing power, are the two love interests of Viceroy’s House, the Hindu manservant Jeet wonderfully played by Manish Dayal (The Hundred-Foot Journey) and his Muslim girlfriend Aalia played by Huma Qureshi. Aalia, a bright and intelligent woman has to look after her father Ali Rahim Noor played by the recently deceased veteran Indian actor Om Puri (The Hundred-Foot Journey, Gandhi).

Michael Gambon who was so brilliant in Brideshead Revisited makes a welcome addition to the British cast as General Lionel Hastings who proves to be more deviant and manipulative as the partition date approaches in the summer of 1947.

In terms of setting the right political tone for the Viceroy’s House director Gurinder Chadha relies heavily on actual news and documentary footage of the partition and the massive disruption and refugee crisis it created when the subcontinent broke into India and Pakistan and then again into Bangladesh.

Chadha chooses to use the actual historical Viceroy’s house a sumptuous Empire palace to metaphorically show a subcontinent being torn into two as all the house servants had to literally choose which country to belong to in the space of three weeks: India or Pakistan, as well as callously divide up all the possessions of this magnificent estate.

From a historical perspective, Viceroy’s House is a fascinating film about the after effects of colonialism and the subsequent first heady days of independence in this case not of one country but two divided controversially along religious lines, Hindu and Muslim.

Audiences that enjoyed Midnight’s Children, Heat and Dust, A Passage to India, will certainly enjoy Viceroy’s House although these films are a far cry from the contemporary portrayal of India and Pakistan in such films as Danny Boyle’s Slumdog Millionaire and Mira Nair’s The Reluctant Fundamentalist.

Fascinating, tragic and historically relevant, Viceroy’s House with its sumptuous production design and beautiful costumes gets a film rating of 8 out of 10.

The Exception

Director: David Leveaux

Cast: Jai Courtney, Lily James, Christopher Plummer, Janet McTeer, Eddie Marsan, Ben Daniels, Anton Lesser, Mark Dexter

After its packed South African premiere at the 38^th Durban International Film Festival, http://www.durbanfilmfest.co.za/ The Exception is a riveting World War II drama told from the German perspective.

Set in Holland in 1940, German soldier Stefan Brandt played with bravado by Jai Courtney (Suicide Squad, A Good Day to Die Hard) is sent to guard the exiled king Wilhelm II wonderfully played by Oscar winner Christopher Plummer (Beginners).

At the end of World War One when the allies defeated Germany, besides the harsh reparations placed on the defeated nation, one of the conditions of the 1919 Treaty of Versailles was that the reigning German monarch Kaiser Wilhelm II be stripped of his royal title and sent to live in exile in Utrecht, Holland.

British director David Leveaux assembles a fantastic cast in this interesting film also starring Lily James (Baby Driver, Cinderella) as a sexually provocative Dutch maid Mieke de Jong who quickly falls in love with the handsome and tough Brandt and Oscar nominee Janet McTeer (Albert Nobbs) as Kaiser Wilhelm’s wife, Princess Hermine who is desperately hoping that her exiled husband will have his monarchy restored even though Germany has entered the Third Reich under the ruthless Nazi’s who have started World War II.

Eddie Marsan (Their Finest, Happy Go Lucky, Concussion) appears as the creepy Head of the SS, Heinrich Himmler, in a brief yet comical scene stealer.

As a historical film, The Exception is a watchable tale, filled with intrigue, sexual conquest and lost dreams although its relevance will be lost on a mostly English speaking audience and also because most of the cast are British, Canadian or Australian actors playing German characters. If audiences want authenticity they should watch the excellent 2015 German film, The People vs. Fritz Bauer, which also premiered at #DIFF2017 http://www.durbanfilmfest.co.za/ as part of the German Film Focus.

Nevertheless, as a World War II thriller which deviates from the usual Allied scenario, The Exception is enjoyable in the same vein as director Mark Herman’s The Boy in the Striped Pyjamas.

What does stand out in The Exception, are the fine performances of Christopher Plummer and Janet McTeer but sadly their acting will probably be overlooked in the 2018 Oscar race.

Concisely written with an engaging plot, The Exception gets a film rating of 7.5 out 10 and was an impressive film to be screened at the Durban International Film Festival, attracting a full cinema house.

Recommended viewing for audiences that prefer a provocative World War Two thriller from the perspective of the so-called enemy.

Baby Driver

Director: Edgar Wright

Cast: Lily James, Ansel Elgort, Kevin Spacey, Jon Hamm, Jamie Foxx, Jon Bernthal

While the trailer is cool and the cast is hip, Baby Driver delivers some cool stunts as a sequential car chase film with its sweet looking leads Baby played by Ansel Elgort and Debora played by rising British star Lily James.

With a fabulous soundtrack, Edgar Wright’s crime caper Baby Driver, clearly inspired by Pulp Fiction is thrilling to watch, with a great fast-paced narrative, transplanting the action from Los Angeles to Atlanta, Georgia it does get weigh down by its own super-cool importance and could have been edited by at least 20 minutes.

Oscar winner Kevin Spacey (The Usual Suspects, American Beauty) plays crime boss Doc who hires Baby played by Ansel Elgort as a bank robbery get a way driver because of his fast skills behind the wheel. That and the fact that Baby doesn’t get fazed by the traffic, the cops or his fellow henchman. Baby starts re-evaluating his crime driving does when he meets the sweet Southern diner waitress Debora played by Lily James (Cinderella, Wrath of the Titans).

Soon Baby wants out but has to contend with a new and vicious crew headed by the psychopathic Bats wonderfully played by Oscar winner Jamie Foxx (Ray) and equally threatened by the crazy gun-wielding Buddy played by Mad Men star Jon Hamm (The Town, Million Dollar Arm).

Audiences should expect lots of car chases, a really cool soundtrack and a crime caper with as many twists and turns as a Southern freeway. Despite the hype surrounding Baby Driver and its ode to all things Americana – The Cars, The Diner, the Freeway, director Edgar Wright places too much emphasis on trying to encode the narrative with a moral undertone which doesn’t quite work especially towards the end of the film.

Basically, despite all the violence, money grabbing and loads of action, the end result is crime doesn’t pay – which is ultimately a bizarre sentiment to portray in a film such as Baby Driver which glorifies crime, violence and greed, making all three look hip, cool and attainable especially in a fast car.

Baby Driver is a stylish and entertaining ride, but don’t expect the cinematic journey to live up to the hype. Nevertheless its still a fun way to spend an afternoon at the movies.

For the young and the fast, Baby Driver gets a film rating of 7.5 out of 10 and recommended for audiences that enjoyed Pulp Fiction and all sorts of sleazy, pulpy crime thrillers which the Americans are so fond of making. The irony is that director Edgar Wright is British…

The music is the best thing in this action flick!