I'm noticing a trend in British movies of providing very un-Hollywood endings. Meaning the opposite of the resolution you expect. I'm going to talk about several British movies today, the ending deal-y applying to some and not to others, so not too much of a spoiler. It's crazy though. I feel like I don't know how these movies will end, and I always know how Hollywood movies will end.
Let's talk about the good: Jason Statham is playing a different role than usual. He's been typecast very specifically. He's a tough, masculine no-holds barred action dude who's a great driver but who's also sophisticated at home and enjoys the finer things. Boy did that get old. The Mechanic is the most recent example of this that I know of, and I only really enjoyed Ben Foster's performance.
In Blitz, Statham is a bully cop with no sophistication. He creates his own villains through people reacting to his brutal abuse of authority. I already have a hard time empathizing with cops, so this movie totally lost me.
It's got a lot of other problems too, including a stupid villain, and a stupid name.
Red Riding: In the Year of Our Lord 1980
Here's a good cop movie. And it stars the co-star of Blitz, Paddy Considine, which was kind of weird. I don't know why he did Blitz. Dude's a good actor.
I thought Amanda Seyfried starred in this. I didn't notice her.
I've been a fan of Toby Kebbell since I saw Wilderness, which is a pretty badass movie. He's good in this. Very intense. Because the atmosphere is very gritty and realistic, I had a hard time believing some of the plot, but otherwise this is a goody.
I love movies set in the London projects. I love how they look, tall and wide and with a landing on every level, and the chavs all hanging around ready to stick people with steak knives.
And there's a bruuuuutal shootout scene. Sweeeeeet!
This is the second movie I've seen staring Jim Sturgess, but the first time I've really noticed him. He's a pretty good actor.
I feel like this movie uses its fantastic element to try to get at the dark heart of man, but that requires that you really aim at the heart. Instead, it feels like Sturgess's character is a pawn, being used to display whatever philosophical ideas the filmmakers want to display. I don't believe in his actions, and honestly, I'm pretty easy-going in that respect.
In a world where you've got a heart-shaped birthmark on your face, what do you do?
You stab people for Satan.
Movie reviews again already? Much like Michael Bolton, I am a major cinephile.