Beast

 

If you look at the masthead of this site, or count the number of posts relating to the 1975 classic, you will know how much I love Spielberg's "Jaws".  In fact, in a couple of weeks there will be more posts because it is getting a release in IMAX and 3D. That may make it a little unfair to compare today's film to the beloved shark story, but in many ways it is the same story, simply adapted to a different environment. "Beast" is a nature gone malevolent film where instead of a shark we get a lion. There is an initial attack, and then the slow burn discovery of the continuing danger, followed by an extended sequence where man is pitted against nature in a single vehicle that is crippled. There are plenty more comparisons to come but I'll save those to first talk about whether the film works.

Idris Elba has been in 30 films in one form or another in the last 10 years. Before that he was in a bucket load more and some essential television shows, so it is not a stretch for him to have to hold the attention of an audience for 90 minutes. The part of Doctor Nate Samuels is low key and calm in the face of overwhelming danger. The Doctor has two children that he has brought to South Africa to visit the home of their deceased mother. The husband and wife were separated at the time of her death and as a doctor, he feels guilt about not being able to do more about the cancer that killed her. It is a cliched trope that a trip like this is designed to repair the estrangement he has with his teen daughters. That the relationships will have to be repaired under the most pressure filled scenario is typical in a movie like this [Bruce Willis and Mary Elizabeth Winstead in Live Free or Die Hard is an example of the stress repairing parental bonds trope].  

The premise is simple, the family in emotional crisis suddenly finds itself under attack from an outside source. In this case the threat comes from a rogue lion, angry about the slaughter of it's pride and reeking vengeance on all humans it encounters.  In the opening sequence we get a night time attack on the poachers left behind to clean up after the initial destruction of the pride. There are a couple of moments that feel like a mid-night swim and the CGI lion is pretty effective at providing jump scares. When Elba and his friend Martin, played by Sharlto Copley, come across a decimated village, it's as if Brody and Hooper are finding Ben Gardner's boat, only this time Brody brought his kids with him. Later, it turns out that Martin is also Quint, intrepid hunter of poachers and the victim of the creatures he tries to protect. 

The lion attacks on the vehicle that the doctor and his daughters are trapped in are pretty dramatic and scary. The idea that the lion is using one of our characters as bait is similar to the mysterious behavior of the shark in "Jaws" going under the boat. Animals are inscrutable, but they do follow their nature, and we were given a foreshadowing lecture on lion behavior that tips us to how this is ultimately going to be played out. Of course a couple of characters have to do some stupid things to keep the story going in a few spots and that does undermine the value of the film. 

I don't know of anyone who wants to see animals harmed as a part of the story, but as this tale goes on, you really are rooting for something to happen to this lion. The most brutal violence on an animal is in the openings sequence, so if you get through that you will be OK. We mostly see the aftermath of the mauling that the humans get, but in the climax we are given a pretty graphic depiction of what happened to a variety of characters, and it happens in broad daylight, so night does not cover up what is going on. The locations look beautiful and there is some terrific nature photography early on, but once the peril starts, the plot takes over and most of the shots are about building fear rather than amazing footage.

"Crawl" was a similar story from a couple of years ago. It was much more aware of it's exploitation roots and leaned into them to make an effective summer entertainment. "Beast" has a little too much sincerity to pull off the entertainment value at an equally high level, but it mostly works. That is due to the two leads and the premise, more than anything else. 

Free Fire

There is something just great about a movie set in a single claustrophobic location, filled with criminals. "Reservoir Dogs" by Quentin Tarantino served as his introduction to the world. The colorful characters and bantering dialogue were a swift kick in the pants to movie fans who had become jaded by traditional action thrillers. Just a couple of years ago, he plagiarized himself with another location bound crime film, this one set in the old west, "The Hateful Eight". While he has played with the idea of a single location, both of those films involve substantial flashback stories that take us from the set spot to other locations during the run time of the movie. "Free Fire" does not do any such thing. Everyone arrives at the location, and then the rest of the film takes place exclusively in those confines.

This is basically a criminal deal gone bad, that ends up in a shootout. It sounds very basic and from the perspective of story, it is. There are however a few tweaks that director Ben Wheatley and his co-screenwriter Amy Jump throw into the concoction.  For instance, the spark that lights the already intense situation has nothing to do with the deal. By coincidence, a couple of hotheads with a beef are in the two factions and tempers flare around a bunch of volatile people. Almost all of the characters are given some distinctive personality quirks in a short set up, and as a result we know that even when they are allied with another person, their inclination is likely to be to shoot.

Like most films featuring criminal activity, the parties are not entirely reliable. There are a number of double crosses and switches of loyalty. When bullets start to fly, often the direction you point your gun in is largely determined by where a previous shot came from. Early on, one character quizzes another, trying to reassure themselves, "You're not FBI are you?" "No. I'm IFM, In it For Myself." By the midway point of the film, pretty much everyone has joined the same group.

The stars of the film are Armie Hammer, Sharlto Copley and Academy Award Winner Brie Larson. Larson plays Justine, a go between for the IRA group that wants some weapons, and the black-marketeers that are willing to supply them.  Her part here makes a little more sense than her recent turn as a photo journalist in "Kong: Skull Island",  but she basically serves the same purpose, to be the sole representative of her gender with a part in the story. The humor that is the main selling point of this film is enhanced by her presence as a distraction to the others and an opportunity to use some lines of dialogue to promote gender equity in a more unusual way. Hammer is the cooler than thou broker who always has a bon mot to drop. Sometimes he insults the players, often he is incredulously commenting on the circumstances. Copley is the ace in the hole for the movie. His first appearance provokes laughter as his suit is so clearly a 70s cut and his hair and other styling reek  of the decade. His odd South African accent, combined with a belligerent manner and a chip on his shoulder make for a great character that you can just tell will be the source of all kinds of amusement.

I should mention two other scene stealers as they are the ones who lite the fuse and just won"t let it burn out during the story. Sam Riley is a weaselly junkie, brought in on the job simply to load weapons and act as back up muscle. Everybody in this movie kicks his ass to some degree or another. Jack Reynor, who was the standout supporting character of the older brother in "Sing Street" last year, adds another great character role as a counter part local thug who has a surprise connection to the other character. Testosterone induced violence, flavored with a heavy dose of grim humor, and a seemingly endless supply of ammo, makes this film sing as well.

 
Our attendance last night was at the Arclight Theater in Hollywood, where there are frequent guest appearances to promote a film. Sharlto Copley and Armie Hammer were there last night and will return this evening to talk about some of the behind the scenes stories of the film. Both men were avuncular raconteurs who regaled us with amusing anecdotes about hair, wardrobe and the use of fire on set. The half hour was fun but not particularly deep. Let's face it the movie isn't deep, it is just entertaining as were the two stars.

After the Q and A.

Costume Display in the Arclight Lobby