“Here We Are, Again..!”
Based upon the 1994 novel “Dan Leno and the Limehouse Golem” by English author Peter Ackroyd, American director Juan Carlos Medina hits the big time this week after a string of independent, low-key releases with The Limehouse Golem, a British murdery mystery featuring the enigmatic figure of Bill Nighy in the leading role of Inspector John Kildare and a supporting cast which features the ever-reliable figures of Olivia Cooke, Daniel Mays and Eddie Marsan. Adapted from novel to screen by writer Jane Goldman, whose previous successes include Kick-Ass and the jet-black gothic horror of the worlds scariest 12A rated movie, The Woman In Black, Medina’s movie is unfortunately a slog of predictability, one which forces through style over substance and shock tactics over story, resulting in a televisual murder mystery which ultimately feels rather too silly to be taken seriously even with some eye-catching performances from its’ leading cast and effective gritty, murky cinematography from the film’s DP.
Put onto the case of the “Limehouse Golem” after a string of grisly, violent murders in Victorian-era London, Bill Nighy’s Inspector Kildare’s high profile history and attachment to former stage actor Elizabeth Cree (Olivia Cooke) is placed onto the local spotlight. With Cree on trial for the supposed murder of her husband, Kildare balances his attempt to prove her innocence along with revealing the identity of the crowd-pleasing vicious killer, one who has striked both fear and excitement from the bloodthirsty London audience. With the violence ridiculous, the dialogue cliched and the final twist so obvious even a half-asleep audience would have got there eventually, The Limehouse Golem doesn’t quite manage to live up to the retro, murder thriller vibe it so obviously wants to excrete on-screen, and whilst Nighy, Cooke and Douglas Booth give it their best go, Medina’s big-screen debut is B-movie fluff of which memorability isn’t exactly its’ leading trait.
Overall Score: 5/10
“I’m My Own Bitch Now…”
If ever there was someone in Hollywood who is the epitome of kick-ass action, Charlize Theron undoubtedly takes that prestigious award all the way home, with recent releases such as Mad Max: Fury Road and The Fate of the Furious in particular showcasing that it’s not just the male fraternity of actors that should get all the explosive fun when sometimes their female counterparts can do it so much better. With Atomic Blonde therefore, the latest release from John Wick director (albeit strangely uncredited) David Leitch, a filmmaker renowned primarily for stunt work on a wide range of cinematic releases including the likes of V for Vendetta and The Bourne Ultimatum, it comes at no surprise that many could simply regard Theron’s latest as somewhat of a John Wick-infused cash-in, yet with a cast which features the likes of Eddie Marsan, James McAvoy, Toby Jones and John Goodman, Atomic Blonde on paper has the groundwork to be it’s own beautiful beast. Unfortunately, this is most definitely not the case, with Leitch’s latest suffering way too heavily from fundamental script issues and mind-bashing plot twists to be classed as a film in which I could safely say I enjoyed from beginning to end, and whilst there are certain elements which are delicious in their execution, for the most part, Atomic Blonde is a vicious let down.
Whilst the late 1980’s, fall of the Berlin era is effectively flashy enough, the underpinning of a narrative which hinges on flashbacks is fundamentally at the heart of the problem of the film, one which uses a script which comes across stinking of a seeping air of sanctimony in it’s belief regarding how clever and slick it is, and too a picture which revels in the exploitative use of undeserved levels of profanity and violence which comes across much too jarring and distracting throughout pretty much the entirety of the film. With the back and forth nature of the story much too convoluted for anyone to really care what is actually going on, the film isn’t helped either by Atomic Blonde having arguably the worst plot twists since the stupidity of Now You See Me 2, and whilst Theron makes the most of what she has handed, style alone in the form of costume design and makeup doesn’t form a memorable character, resulting in a heavy heart when realising I forgot the lead character’s name as soon as I exited the foyer, something of which doesn’t normally happen when the film has truly engaged me. Jarring more than enjoyable, Atomic Blonde is mediocrity incarnated and too not the first film to use stairways as the backdrop to a decent fight scene. DAREDEVIL DAMMIT.
Overall Score: 5/10
“They’re Afraid They Won’t Be Able To Put Us Back In The Box When This Is Over, And It Makes Them Belligerent…”
Directed by Lone Scherfig, the creative mind behind films such as The Riot Club and the Oscar nominated drama, An Education, Their Finest, based upon the 2009 novel, Their Finest Hour and a Half by British author Lissa Evans, seemingly begins a cycle of early 20th century war biopics which are set to be released this year, with highly anticipated releases such as Churchill and Christopher Nolan’s unbelievably exciting take on Dunkirk coming to a theatre near you over the course of the next few months or so and whilst Scherfig’s latest is arguably not in the same wide-spread level of appeal as the latest Nolan release or a film depicting one of Great Britain’s most influential figures of recent history, with a cast which includes the bravura acting talents of Gemma Arterton, Eddie Marsan and Bill Nighy, the groundwork for excellence has somewhat already been established. The question remains therefore whether the finished picture matches the ability of its’ leading stars and whilst Their Finest is indeed a charming low-key drama, one which is laced with a full swing of tea-swigging Britishness, the final flurry of its’ second act doesn’t hold the interest of the first and dwindles into a movie which is wholly admirable but ultimately inconsequential.
Perhaps the biggest criticism of Their Finest is it being a film which once again is a solid example of a movie which doesn’t have enough actual meat on its’ bones to run the course of its’ two hour runtime, utilising narrative avenues which don’t exactly work in the long run, such as the inclusion of Jack Huston as Arterton’s underdeveloped partner, in order to enforce a dramatic subplot which although sets up the film’s leading romantic element, could have been cut out entirely and averted the risk of the dreaded clock-watching from its’ audience. On the contrary, the film does boast a overarching feel-good narrative which is bound to leave its’ intended audience “weeping in the aisles” as stated by Bill Nighy’s excellent portrayal of the fame-addicted presence of ageing actor Ambrose Hilliard, whilst Gemma Arterton continues the argument that whatever she is in she is always top of the class no matter if its’ fighting zombies in The Girl With All The Gifts or battling the sexist and wholly misogynistic ways of 20th century Britain in her role as Welsh writer Catrin Cole. Ultimately, Their Finest is a enjoyable fluffy drama which tells a story and tells it admirably well aside from a few notable exceptions but with a cast as reliable as the one on its’ books, it never really was going to fail.