Pearl

 

Before Swine

Pearl
Directed by Ti West
United States/Canada/New Zealand
A24

Warning: Some spoilers.

Ti West’s Pearl is a prequel to his movie X, which I reviewed here. It stars Mia Goth as the title character who, of course, played a dual role in X, one which completely took me by surprise as the old age make-up and performance of Pearl completely hid the actress from my perceptions in that one. This one was written, from what I hear, in a two week quarantine break in New Zealand, before the shooting of X, co-written over computer by West and Goth together. My understanding is that parts of this production were shot simultaneously with this one too.

And, it’s completely brilliant and, once again, Mia Goth amazes me with the power of her performance. Those expecting a film similar to X in tone may find this one slightly jarring at first. Now, I don’t usually like American made slasher films with X being one of the rare exceptions and, while Pearl is also, in essence a slasher film... it’s not a traditional slasher and it’s more in the lines of something like Hitchcock’s Psycho than, say, the Halloween or Scream films.

If you’re expecting nudity and goriness of X level proportions then you are probably going to be disappointed. The only nudity in this one comes in the form of an early 20th century, silent stag loop (one you might well have seen before if you have any interest in vintage erotica) and while there are some scenes of gruesome violence, such as a split screen sequence near the end where Pearl performs her own clean up by dismembering the corpse of her sister in law (Emma Jenkins-Purro), it’s far less frequent than in the aforementioned X. Although, of course, the pauses between the scenes where Mia Goth’s title character goes from naive, not too bright farm girl to completely derailed and unhinged not too bright farm girl... are much more potent for their diminished frequency.

The film is set in 1918 and I believe the director wanted it to play out in black and white. Alas, A24 refused that idea and so the film veers in the other direction. Starting off with a similar shot towards the barn doors and out onto the farm, which lovers of X will remember, it actually swings into full on technicolour levels of image saturation and, coupled with a really wonderful score by Tyler Bates and Tim Williams, it actually feels, sounds and looks (also helped along by the typography at the start) like a late 1940s/early 1950s movie... so the tone doesn’t seem quite right to the setting but, really, it does nothing to weaken the potency of the movie and the incredible performances at its centre.

We find out that Pearl has a domineering mother (Tandi Wright), a vegetable of a wheelchair bound, unresponsive father (Matthew Sunderland) and longs to leave the farm. Her husband is away fighting in the Great War and everyone is afraid of the Spanish Flu (indeed, people wear masks reminiscent of the start of the current Covid pandemic). Pearl is a dreamer and longs to escape and be a dancer in the movies, befriending and then later despatching the local town projectionist (David Corenswet). But we realise right from the start that Pearl is a little disturbed, as she pitchforks a goose and feeds it to a crocodile (or it could be an alligator, I barely know the difference).

As the film goes on, Pearl experiences more troubles and dwells on her horrible future... until her bouts of violent self expression become more frequent. But the movie still manages to be almost overwhelmingly entertaining as the stand out cinematography, the performances and the seductive, old Hollywood style soundtrack dazzle the viewer with their combined magnetism. Or at least, these elements pulled together certainly dazzled this viewer.

There’s the odd transition wipe on motion, the amazing split screen sequence which heralds in Pearl’s husband’s return home from the war and an amazing, held shot of Pearl’s face expressing a wealth of emotions behind her forced smile... not to mention a wonderful, stagey, song and dance number set against the trenches of the First World War.

My one disappointment came when the bohemian projectionist character, who shows the pornographic stag loop to Pearl in his projection room, referred to his job as a good ‘gig’. I checked it out after and found I was correct that this is an anachronism in the language, it would seem... as the term didn’t start to be used until the 1920s, at the very least two years after this movie is set. Or so I’m told.

However, it doesn’t really matter because Pearl is a truly entertaining motion picture and one which I will, of course, pick up on Blu Ray, along with X. I’m just waiting for the third installment in the trilogy, MaXXXine, to get a release and then, well, I’m keeping my fingers crossed for a nice Blu Ray box set of all three packaged together. Also, this is a rare prequel these days in that, other than to spoil the surprise, perhaps, that Mia Goth also plays this character in X... this is a movie which could easily be watched before seeing X and it will probably enrich the experience of seeing that original. Or at least add even more tension when you realise, prematurely, just what Pearl is capable of. And that’s me done with this one. If you are into very focused, quite intense gothic thrillers or, indeed, liked the first movie... then you should have a pretty good time with Pearl, I would say. I can’t wait to see the third installment in this franchise, for sure.

John Wick

Wicked Game

John Wick
2014  USA
Directed by Chad Stahelski & David Leitch (uncredited) 
UK cinema release print.

Okay. So I find it kinda strange and irritating that a relatively high profile action movie like John Wick has had such a delayed release in this country, especially when the language it’s been shot in is a derivative of the language we speak here in the UK. My cousin lives in Australia and I remember him recommending this film to me when we had a Skype conversation in early November. Why did we have to wait so long for it in this country? Especially since, as is my understanding, there were no censorship issues with it. Note to studios: If I really had wanted to see this film badly enough, I would have just legally bought the US DVD or Blu Ray edition which came out a little while ago over there and had it shipped... pretty much anyone who is a lover of film in the UK has to have at least one multi-region player of some kind laying around because there is so much trouble with censorship and availability in the UK. People less scrupulous than I would, and I’m sure many did, just download it illegally from the internet... personally I don’t do that, for a variety of reasons, but many people do. So you are really hurting your box office take by not releasing these movies more or less simultaneously.

John Wick is a pretty good, broad stroke revenge movie, fuelled very much by comic book style attitude towards the action and violence but shot with a certain amount of care and detail to the point that it is like the close kin of another movie I saw at the cinema recently, the Liam Neeson action flick Run All Night (reviewed by me here). Of course, in every other country, John Wick was the first horse to bolt out of the stable door but, obviously, I’ve had to wait until after the Neeson flick had already been playing for a while before I had an opportunity to see this one.

The similarities between both are quite marked.

Both films start off by showing a central protagonist in a very bad way and then flashback to how he got into this state for the majority of the running time. They are both films which involve an anti-hero ex-killer (Wick’s nickname is Baba Yaga in this) who has a history with the villain of the piece. Wick, by the way, is played by the highly competent actor Keanu Reeves and his ex-villainous connection is played by Michael Nyqvist, who most UK audiences will recognise best from his role as Mikael Blomkvist in the original adaptation of The Girl With The Dragon Tattoo and its subsequent sequels, collectively known as The Millennium Trilogy. Both John Wick and Run All Night have a central protagonist who is forced to go on a rampage of some kind due to the misguided exploits of the young, hot-head son of the film’s principal antagonist and, in each case, that antagonist is only going after the protagonist, very reluctantly, because he has been backed into a corner due to the consequences of those actions of his offspring.

Both films also feature very long action and chase sequences but the way both films go about trying to achieve their adrenalin fuelled, emotional goals are very different. The two have nicely composed and designed shots but, where Run All Night has a kind of modus operandi to the sequences which keeps them cut like an MTV pop generation video on acid - extremely short shots making up all the scenes - Wick uses much longer, fluid shots with a lot of moving camera to capture the more flamboyant scenes of violence. Both films have their pros and cons and are trying to be gritty but with Run All Night, the speed of the shots slightly detracts somewhat. John Wick, on the other hand, is a little more light in tone when it comes to the raw edge of the character and, as I said, much more comic book in its treatment of the choreography of the action sequences. It prefers to use moving master shots to keep you pulled in and focused.

Neither film is wrong in their approach but I find the idea of two films with similar themes being the flip side of the coin to each other, when it comes to the technique used to illustrate those themes, extremely interesting. The fight choreography in John Wick is certainly impressive and it does look like Keanu Reeves is doing a lot of his own “rough n’ tumble” in this one... quite convincingly, I might add. In terms of comparing the two films... I’d consider watching John Wick again because the action sequences seem to be a lot more entertaining, it has to be said.

The main difference to this movie is that John Wick is very much a revenge thriller and it takes a fair bit of the early screen time pulling very hard at the audience’s emotions to establish the connection between Wick and his new puppy dog, sent from his recently deceased wife to bond with Wick after her death. Everyone loves a puppy and so the inevitable scene where John is beaten up, his dog killed* (which is in the trailer, so I’m not spoiling anything here, people) and car stolen, is very calculated but, obviously, it works pretty well and you'll get quite fuelled up to see Keanu Reeves’ character leap into action and punish the bad guys. Strangely though, and this is where the art of film comes into play, the amount of time between John Wick losing his wife, gaining a puppy and then having it killed, forcing him out of his self-imposed “kill them all” retirement, can actually be only a week in terms of the events in the character’s chronology. However, the director is skilled, or at least tricksy enough, to give those elements a sense of gravitas even though they take up a pretty insignificantly small amount of time in the principal character’s life. And, of course, Keanu Reeves’ on screen performance is sturdy and assured enough to convince the audience that his personal stake in this is enough motivation for his actions throughout the rest of the film. So, as usual, good work from him.

He’s ably supported by some great actors and actresses in this too, with some good little turns from Willem Dafoe, John Leguizamo, Ian McShane, Adrianne Palicki and Bridget Moynahan (although, seriously people, 8 seconds of screen time is really not enough for this wonderful actress). He’s also well supported by some striking shots, cool lighting changes (there’s a scene where he goes from neutral whites and beiges to a “full on Bava” of greens and reds at one point), neat editing and... a nice enough score by Tyler Bates and Joel J. Richard. Although regarding this last element it seems, on first listen in the context of the movie, to be a killer baseline missing a central theme which might have given the film a little more lift in places, I felt. Great action coupled with a strong sense of a, kind of, moral heart for the character (despite killing 77 people on screen, most of whom are innocent of any crime against him other than trying to stop him from killing someone else) round out a movie which is actually quite entertaining.

Talk of good box office and a sequel is something which surprises me in the case of John Wick, given that it took so long to get the film out over here. However, it deserves a shot at a franchise, I think... although I’m not sure where they can go with the character after this since the motivation for his misadventures seems to be all used up by the time he’s done with his rampage in this one. Time will tell I guess but, in the meantime, if you like well oiled action movies with lots of loud noise and all the usual punching, shooting and chasing in them, then John Wick should probably satisfy your appetite for destruction for a while. Locked, loaded and ready for traction.

*Just a thought but, if you’re going to take a car ride with your dog and then spin the car around in some death defying, high speed spins and such like, your dog will seriously be looking half dead, at the very least, way before the villains of the piece come into play. That sequence is not very plausible.

Guardians Of The Galaxy

Groot Point

Guardians Of The Galaxy
2014 USA
Directed by James Gunn
Cinema release print.

I was both pleasantly surprised and achingly disappointed by the release of the new Marvel Phase 2 movie Guardians Of The Galaxy. When the film was first announced as being another of the series in the linking Marvel story arc that kicked off with the first Iron Man film... I was a bit taken aback. The comic this is mostly based on is the 21st Century incarnation of the Guardians Of The Galaxy as opposed to the original 1969 team... and I have not read any of their original stories in any of the various team line-ups to be able to pass judgement on this film as an adaptation. I was, though, very worried about how Marvel would be able to pull off a movie with characters like Rocket Raccoon and Groot in it and still make it fit in with their other properties in such an intimate manner. The various trailers didn’t exactly endear me to the idea of going to see it either.

Sure, the groundwork had been done by Marvel in terms of sowing the seeds for a more intergalactic piece of their giant cinematic puzzle with the Thor films (which are reviewed by me here and here), which are set off-world, so to speak... and, of course, The Avengers movie (reviewed here), which shares a common villain with this one. The character of The Collector, for example, had already appeared in the second Thor movie and Thanos had already been revealed at the end of The Avengers (aka Marvel Avengers Assembled) as one of the major players in the conflict depicted in that movie. However, this didn’t change the fact that I was finding it mighty difficult that a film of this nature, which would probably end up as “just another space opera” (and kinda did, actually), would be able to slot in neatly with the other films in the series without looking incongruous. It’s a lot easier to get these kinds of mismatched crossovers to work in comic books than it is to do it in the movies, I’m sure.

That being said though... I was, as I said in my introduction, pleasantly surprised by the movie. For two reasons.

One is because... it’s not a terrible film. It’s not great but it is at least watchable and has some quite good moments which give it some entertainment value. The other reason is because, as it stands, I think this should just about slot into the current Marvel universe if the producers, writers and directors can do it very carefully and write to the various characters’ reactions and interactions with each other as they meet up in various films. I can imagine, for example, that a well written scene between Tony Stark and Rocket Raccoon would go down a treat.

This film opens very, very strongly with an opening, pre-credits sequence which is guaranteed to tear at the heartstrings and bring trickles of moisture from the audience’s eyes. We see the young Peter Quill, aka Star Lord, as he refuses to hold his mother’s hand and then she dies before he gets a chance to do that. He runs out of the hospital in his grief and is immediately kidnapped by aliens, one of the original members of the 1969 Guardians Of The Galaxy as it happens, although in this movie that character (played by Michael Rooker) is portrayed as a villain rather than a hero.

The cast is strong and the main players... Chris Pratt as Peter (Star Lord) Quill, Zoe Saldana as Gomora, Dave Bautista as Drax The Destroyer, Bradley Cooper as Rocket Racoon and Vin Diesel as Groot... are all really good in their roles... with special mention of Bautista who does a really good job at making me care about his character’s motivation. They all get some really nice dialogue in their scenes and it’s when they are interacting with each other in a way that doesn’t involve people punching, kicking, shooting or stabbing each other to death that their characters really get to shine through.

Similarly, there’s a good supporting cast of particularly reliable actors who are great in this including the always watchable John C. Reilly and the highly talented Karen Gillan, an actress I felt was somewhat wasted in this. She plays it very strong but the scripting seems to be working against her, I felt and the denouement of her character seemed to me, to be a triumph of the “quick technological special effects punchline” as opposed to anything which seemed earned by the main protagonists. It doesn’t help that a similar sequence is used right near the end of the movie either... people seem to be pulling out big guns and unloading them in the direction of the bad guys as a “quick fix” too often in this movie, I felt. It has to be said that Gillan’s portrayal of Nebula marked her out as the only villain in the movie that I felt even remotely intimidated by... so maybe casting her as a henchman... um... henchwoman, in a film which is already full of those kinds of characters, was a mis-step. She needed a bigger role to flesh out, I felt, and I hope the people in Hollywood are taking note of just how good she is at what she does. They need to play to her strengths more, I think.

However, for all of the good stuff... I had a very strong dose of negative vibes from the film also.

It’s a good film, no doubt about it. It’s entertaining when it needs to be and I felt like I could root for all the main protagonists in this one with no trouble. However, the plotting on this one seems a bit obvious and the film, filled with epic action and effects as it is, felt to me to be a bit like overkill when the story isn’t justifying it a whole lot. I would have preffered a much simpler film which doesn’t hurtle you from one scene to the next quite so blurringly. Also, I have to say, that apart from those often but brief bits of shiny dialogue, the whole thing felt kinda dull to me in places.

Of course, it didn’t help that I couldn’t follow the action on this one too easily, either. I’m sure the choreography of the various battles made a lot of sense on paper but, frankly, the way these scenes were edited together just kept losing me. I could maybe see a vague sense of the direction of the thing in the battle scenes but, honestly, I lost interest a little way into most of these scenes because they were either unremarkable, distractingly edited or seemed to be serving a storyline which seemed over simplistic for the “everything and the kitchen sink” attitude which seems to be prevalent for most of the film. About the best action sequence in this is when the five protagonists break out of prison but... that happens fairly early on in the movie and so, as far as action scenes go, you’ve already seen the best one before the film is even half the way through.

Again, I wasn’t feeling the music in this one either... which is strange since the inclusion of music in a diegetic role and as an important component of the Peter Quill character, means that music almost becomes a character in itself in this one. It was a main hook of the trailers too, as I recall, but... although I’m okay with pop music, it’s not really my main source of musical interest and I really didn’t like most of the songs featured in this movie. Tyler Bates score is appropriate and serves the film by giving it what it needs but, again, I didn’t notice anything really remarkable in this one... although that’s not always possible when it gets buried in the noisy mix of an action vehicle like it tends to here. I’ll probably get more of a feel for it if I ever get around to buying the score as a stand alone listen... but nothing in this movie screamed out at me, in terms of the music, which made me want to rush out and buy the score.

And that’s really all there is to it in my view. Guardians Of The Galaxy is not the disaster I was expecting it to be... but it wasn’t that great either. It’s an establishing movie, though, and it could well lead to better things for the on-screen Marvel Universe at a later date, I suspect. If you’re a fan of the Marvel movies in this cycle then you probably won’t want to miss it.. although I suspect it’s not as major a set up for the incidents in next year's The Avengers: Age Of Ultron as I’d initially suspected it to be. In terms of the overall arc I’ve a feeling that this one could probably be dropped out of the equation entirely and the next movie would still make 100% sense by the inclusion of key players from previous movies... so there’s that. Not a movie I will be rushing back to the cinema to see again anytime soon but I’ll probably take another look at it on DVD at some point next year because... I know my mother liked it. As usual with Marvel films now, there is both a mid-end credits scene and a post credits scene and, I have to say, I wouldn’t be surprised if neither of them are necessary for understanding the next movie in the cycle... but if you are so inclined, you should probably stay for the final drop. All in all though, I wouldn’t exactly say I got hooked on a feeling for this movie.