Tag Archives: Christian Bale

Vice (2018).

An hour of breezy climbing-the-ladder banter, researched kind of well but still replete with whopping inaccuracies, Vice (2018) holds in admiration its protagonist’s uncanny appreciation of the mechanisms of power. Perfectly decent performances and a freewheeling narrative structure lost my interest just when events should have made the content interesting. It got decidedly shite by the last throes and I had no choice but to turn the farce off once the director broke the fourth/fifth/sixth wall.

Perhaps there wasn’t much human substance there to document beyond 60 mins.

Belter of a trailer (and tune), though:

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Equilibrium (2002) is better than the Matrix sequels.

And I don’t know why it was ever associated with those mingers. It has guns and a similar theme. Wow!

There’s nothing particularly new or groundbreaking about Equilibrium (2002). It’s just a really well-made high-concept flick from someone straight out of a movie den who’s made it their quest to put into entertainment what they’ve absorbed from staples of the genre. All the usual tropes are here: regime offering order instead of chaos, Orwellian euphemisms and doublespeak, the conflicted civil servant.

“Who will guard the guards themselves?” will always provide plenty of movie material, and this is supremely stylish and flies by. It knows it’s shite. And that’s a good thing.

And Sean Bean dies in it. Which is inevitable.

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Hostiles (2017) should be seen by more folk.

I usually hate revisionism because it’s almost always ‘crafted’ through the lens of ridiculous zeitgeist lefty reevaluations of a now controversial time. Artistry comes second with this crusade. They are just message movies and aesthetically worthless.

This one looked ominous. However, it was surprisingly almost brilliant. Bale was … Bale. He is titanium. He cannot be broken. This did baffle me a wee bit as with a lot of these flicks we have the flawed protagonist die at the end because of his sins and he somehow finds catharsis in this. Not so here. Which is just fabulous.

I say almost great. There aren’t any memorable moments or sequences which wander out of formula. But it’s masterfully shot and put together. And I hate most movies.

A strong 4/5.

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Ford v Ferrari (2019) is superior stuff.

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I know absolutely zilch about cars – I cannot drive one, have never possessed and never will have any interest in them, and cannot fathom sharing the same road with so many dafties. I see a lot of these ‘boy racers’ congregating in supermarket car parks, revving their engines and taking selfies. The mind boggles. It’s one of the many reasons why I scratch my head at these Fast & Furious films. Utter shite. I just don’t understand the appeal.

This movie transcended the ‘car fetish thing’, however. Mainly because the topic is merely a foundation for broader themes and character dynamics. Ferrari here are the urbane, suave totem of Italian sophistication; Ford, the bog-standard symbol of production line Americana. And in another example of what we now call ‘globalism’, the Yanks want a bit of the prestige and to shake off the crass tag.

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Christian Bale’s Ken Miles is an affront to the company men presided over by Tracy Letts’ Henry Ford II, the monolithic Ford Motor Company no institution in which to showcase one’s maverick inclinations, yet Miles finds a way through pure undiluted talent. It’s another absurd yet captivating Bale performance, the highlight of a movie in which nothing annoyed me even though it’s ostensibly about cars.

Well done.

Further reading/viewing:

https://time.com/5730536/ford-v-ferrari-true-story/

https://www.rogerebert.com/reviews/ford-v-ferrari-movie-review-2019

 

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Patrick Batemans are among us.

I was on an Edinburgh bus the other day (it’s a twice-daily slice of masochistic trauma) and overheard two geeky types talking about their mobile phones for 30 fucking minutes in the most detailed and scripted way imaginable, emphasising every nook and cranny of their devices. Two thoughts popped into my noggin: 1. These semi-hipsters really adore their smartphones. 2. This sounds like something Straight Outta American Psycho (book and film).

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Bateman talks with such gusto about his suits, haircuts, business cards, and other trivialities of the material world in a way which seems completely manufactured, as if he’s reading verbatim from a magazine spread. And it really is how many people converse these days. It’s a mass regurgitation of accepted gospel strewn over the pages of lifestyle mags or celebrity endorsements through visual media. In recent conversation I’ve seen a person’s eyes flicker to their top-left to recall key lines of a Guardian newspaper review of a hit movie. They essentially parroted the critique word for word.

It’s why Bret Easton Ellis’s magnum opus satire continues to be relevent. It’s not the murders that captivate decades on, but the novel’s spot-on depiction of how much of our everyday language is fed to us on a consumer basis. And how we use it without even realising.

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Here’s a Pat Bateman belter:

‘“Well, we have to end apartheid for one. And slow down the nuclear arms race, stop terrorism and world hunger. Ensure a strong national defense, prevent the spread of communism in Central America, work for a Middle East peace settlement, prevent U.S. military involvement overseas. We have to ensure that America is a respected world power. Now that’s not to belittle our domestic problems, which are equally important, if not more. Better and more affordable long-term care for the elderly, control and find a cure for the AIDS epidemic, clean up environmental damage from toxic waste and pollution, improve the quality of primary and secondary education, strengthen laws to crack down on crime and illegal drugs. We also have to ensure that college education is affordable for the middle class and protect Social Security for senior citizens plus conserve natural resources and wilderness areas and reduce the influence of political action committees.” The table stares at me uncomfortably, even Stash, but I’m on a roll.’
― Bret Easton Ellis, American Psycho.

There’s a lot of poetry in that.

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