Posts Tagged ‘Tomas Lemarquis’

Replicants Rising

Blade Runner 2049

Director: Denis Villeneuve

Cast: Ryan Gosling, Harrison Ford, Robin Wright, Jared Leto, Dave Bautista, Ana de Armas, David Dastmalchian, Edward James Olmos, Barkhad Abdi, Sylvia Hoeks, Tomas Lemarquis, Mackenzie Davis, Sean Young

When Ridley Scott’s original Blade Runner appeared on cinema screens in 1982 it was hailed as a visionary science fiction film about replicants in Los Angeles in 2019.

The film developed an instant cult following and become a prime example of Post Modern Film Noir, with its blend of 1940’s costumes coupled with a dystopian future of a vast city laid bare by global warming and sinister corporations filled with surreal images of a multi-national world overtaken by replicant animals and a rapidly depleting human population most of whom had gone off world to the colonies in outer space.

Thirty five years later, there is finally a sequel, the highly anticipated Blade Runner 2049 featuring Ryan Gosling as K and veteran actor Harrison Ford reprising his role as Deckard.

Directed by French Canadian Denis Villeneuve, who brought cinema lovers his excellent impressionistic films Arrival and Sicario, this is by far his best and most ambitious film yet.

With Blade Runner 2049 he had a lot of visionary expectations to live up to and with the able assistance of Oscar nominee cinematographer Roger Deakins, Blade Runner 2049 is a visual feast, a mind blowing and sophisticated contemplation on the nature of what humanity is, of what fabricated genealogy is and more significantly where our species are heading in a future increasingly popularized with invasive technology. Artificial intelligence, virtual reality, augmented operating systems to name a few.

If contemporary audiences are expecting a straight forward sci-fi sequel then don’t watch Blade Runner 2049. It’s advisable to watch the first film so that you as a viewer can understand all the cinematic references to the original that Villeneuve densely packs into this version along with some stand out performances particularly by Harrison Ford as the older Deckard as he appears exiled in an abandoned casino in a vacated Las Vegas to Dutch actress Sylvia Hoeks as the uber-cool yet vicious replicant Luv along with Robin Wright as K’s LAPD hard-drinking superior Lieutenant Joshi. Cuban actress Ana de Armas (War Dogs) also stars as a virtual projection of K’s love interest Joi to compensate for his increasing alienation in this post-apocalyptic landscape.

What is most captivating about Blade Runner 2049 is the subliminal images and the dexterous use of colour filters particularly in the chic scenes with new arch villain Niander Wallace played with a psychopathic God complex by Oscar winner Jared Leto (Dallas Buyer’s Club).

The ratcheting up of the pace in Blade Runner 2049 is remarkable especially in the film’s second half elegantly assisted by a phenomenal original score by Hans Zimmer and Benjamin Wallfisch.

To tell audiences anything else about Blade Runner 2049, would be to reveal vital spoiler alerts and sinister plot twists.

Blade Runner 2049 is fantastic cinema on an epic, visionary scale and its magnitude would be lost if viewers saw the film on anything smaller than a massive screen complete with surround sound.

Blade Runner 2049 is superb viewing and gets a film rating of 9 out of 10.

A ravishing tour-de-force in post-modern semiotic brilliance, this film is not to be missed by those that loved the original Blade Runner.

Freeloaders Revolt

Snowpiercer

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Director: Bong Joon Ho

Cast: Chris Evans, Tilda Swinton, Jamie Bell, Octavia Spencer, John Hurt, Ed Harris, Ewen Bremner, Kang-ho Song, Alison Pill, Luke Pasqualino, Tomas Lemarquis

South Korean director Joon Ho Bong creates an innovative cinematic allegorical thriller Snowpiercer based on the French graphic novel Le Transperceneige featuring a truly international cast headed by Captain America star Chris Evans along with Tilda Swinton, Jamie Bell, Octavia Spencer, Kang-ho Song, John Hurt and Ewen Bremner.

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Set in 2031 in a second ice age, a glacial earth has completely frozen over due to an industrial accident in a bid to stop climate change, when industrialists released a chemical CW7 into the planet’s atmosphere. The remaining survivors on earth are bound up and segregated on a fast moving train known as Snowpiercer, a futuristic and brutal version of the Ark, on a circuitous track around frozen waste land.

The train is segregated into first class, economy class and the filthy freeloaders at the tail, squashed into sordid living conditions desperate to survive and are unwittingly fed blocks of protein. Naturally an uprising ensures led by Curtis played by Evans and spurned on by Gilliam to storm the different sections and finally reach the front of the train and confront the enigmatic industrialist Wilford, who built the train prior to the post-apocalyptic freeze.

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Snowpiercer is brutal, truly inventive cinema, a chilling allegory on the nature of unrelenting climate change and a horrifying indictment on the nature and savagery inherent in humanity. As Curtis and his gang of misfits storm various sections of the train from a hermetic aquarium to a bizarre brainwashing kindergarten to a debauched drug fueled rave, each section unravels and the perfect order of the passengers is permanently disrupted.

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The direction by Joon Ho Bong is flawless if somewhat stylized and the sound editing is fantastic, but what really makes Snowpiercer so innovative is its unique conceptualization ably assisted by a strong cast helped by a host of best supporting actors including Swinton as the Scottish accented Mason, Octavia Spencer (The Help) as Tanya and capped off by Ed Harris (The Hours, Pollock) as the chillingly demented industrialist Wilford, who is a perfect foil to Curtis’s plan of insurrection.

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Snowpiercer is unique, violent, bizarre and utterly thought-provoking, a truly original semi apocalyptic thriller with grand Orwellian themes framing the fast speeding narrative. In the tradition of Terry Gilliam’s Brazil or more recently the Denzel Washington thriller The Book of Eli, Snowpiercer fits into that strange subgenre of sci-fiction mixed with apocalyptic fantasy. Chris Evans is superb as the brave leader Curtis along with an energetic Jamie Bell as Edgar last seen as an S & M Master in Lars Von Trier’s Nymphomaniac.

Snowpiercer is riveting, strange and surreal, showing to what bloody depths humans will descend to, when their survival is threatened by a ravaged and inhospitable climate.

Parisian Reunion

3 Days to Kill

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Director: McG

Cast: Kevin Costner, Connie Nielsen, Hailee Steinfeld, Amber Heard, Tomas Lemarquis, Richard Sammel

French screenwriter and director Luc Besson (The Fifth Element) teams up with This Means War, Charlies Angels and action TV series director McG in an uneven tale of a professional CIA hitman, Ethan Renner, expertly played by an aged Kevin Costner who after a botched operation in Belgrade returns to Paris to reunite with his estranged wife and daughter, Christine and Zooey Renner, played by Connie Nielsen (Gladiator) and a brilliant Hailee Steinfeld (True Grit). Renner learns that he has a rare form of brain cancer which prompts his sudden and awkward reunion with his Parisian family while discovering that he has really been an absent father to the now teenage and rebellious daughter Zooey.

In the scenes between Costner and Steinfeld, the narrative works beautifully but in between all this familial reunion is a spy plot involving a femme fatale CIA agent Vivi Delay seductively played by Amber Heard (The Rum Diaries) who coerces Renner back into operations as a professional assassin in a bid to discover the whereabouts of The Wolf played by German actor Richard Sammel (Casino Royale, Inglourious Basterds) who is viciously protected by a henchman The Albino, played by crystal clear blue-eyed rogue Icelandic actor Tomas Lemarquis.

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In between the vicious action sequences and Renner’s constant attempts to reconnect with his teenage daughter is an elliptical narrative which will often confuse and confound audiences, but nevertheless entertain them. Overall impression of 3 Days to Kill was that is was a typically European action film in the vein of Taken or Unknown, directed by the wrong director. If Luc Besson himself had directed 3 Days to Kill, the uniformity of vision in the films narrative would help bolster the general credibility of the story, that of an aged assassin who wants to reconnect with his family before his dying days commence. As screenwriter Besson as displayed in the Taken franchise definitely has a penchant for setting his stories about tough old fathers reconnecting with their vulnerable daughters.

3 Days to Kill is slick, flashy and generally entertaining especially with such stars as Costner and Steinfeld playing father and daughter in a rather tender scene on the steps of Le Sacre Coquer, but generally the Parisian locations do little to bolster the overall vision of this Nikitaesque type film. Naturally Amber Heard makes the best of her roles as the lethal CIA operative Vivi, complete with dazzling outfits and sleek sportscars. 3 Days to Kill is not a terrible film, but it could have been so much tighter, better plotted and conceptually driven if Besson (The Lady, Leon, The Professional) had taken the reigns as director.

American action director McG (also known as Joseph McGinty Nichol) should stick to the type of comic action films like This Means War and The Charlie Angels franchise and avoid delving into a far more European aesthetic. It simply does not suit his episodic style which he naturally got as TV director for the popular action series Chuck and Nikita. 3 Days to Kill is a fun, but not a provocative or gripping thriller.

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