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Filmowe recenzje Piotra nam), as an attempt to blackmail Raymond’s boss, Michael Pearson (Michael McConaughey). Pearson, who exclusively controls the growth, distribution and sale of all the marijuana in the United Kingdom, has decided to sell off his interests and retire with his wife Rosalind (Michelle Dockery), a gorgeous, hardcore vamp who runs the most exclusive chop shop of expensive stolen vehicles, when she is not otherwise occupied loving Michael. Naturally, there are impediments to the sale – the Asian mafia, the Russian mafia, a billionaire named Matthew (Jeremy Strong) who tries to devalue the assets of Pearfinely textured silk shroud imprinted with compelling imagery. One such image is a particularly beautiful scene when Heloise, Marianne and Sophie join a group of local village women who have gathered to sing by a bonfire at the shoreline. The staging underscored by the harmonies of the women’s voices makes one imagine as if this were the recreation of an ancient ritual celebrating the joyful qualities of their gender. This is not a rambunctious film. It develops steadily, quietly, and softly. Consequently, it is not a film that most men will rush to see. But, if a man were ever of the state of mind to learn what it is that opens a woman to receiving and sharing love, this would be the perfect learning vehicle. Not only is this scene a fine lesson, but it is also one that leaves behind it a sweet, lingering taste on the emotional palate. On the extreme opposite end of the spectrum is Guy Ritchie’s newest offering, The Gentlemen. Guy Ritchie has the reputation of creating successful, fast-paced, hard-driving movies, populated with extreme characters involved in complicated, twisting plots. Simply stated his movies are infused with an overabundance of British testosterone, that spew out boisterous volleys like the main cannon on a heavy battle tank. His films are layered with highly spirited soundtracks, sharp, snappy editing, and although the films are blatantly violent, the violence is frosted with cynical humor. The Gentlemen is no exception. The plot is partially narrated by a freelancing rascal named Fletcher (Hugh Grant), a smarmy fellow who breaks into the home of an underworld lieutenant named Raymond (Charlie Hun-
every left corner imaginable, this film is an enormous amount of fun to watch. Unlike Portrait of a Lady on Fire, which requires some focus, The Gentlemen is a totally rambunctious one-hour-and fiftythree minutes of pure entertainment. It is escapism at a premium level. … and The Beastly Beauties Ever since 1985, when Grace Jones tried to do in Roger Moore as James Bond, there has been an emergence of the female assassin as a major movie character. This female anti-hero has been steadily developed over the last few decades by actresses Bridget Fonda (Point of No Return), Anne Parillaud (La Femme Nikita), Milla Jovovich (Resident Evil) Uma Thurman, Lucy Liu and Daryl Hannah (Kill Bill 1 & 2), Angelina Jolie (Mr. and Mrs. Smith) and Jennifer Lawrence (Red Sparrow), among others. This new beastly beauty, sexually appealing but deadly, armed to the teeth, able to dispatch a roomful of men, ruthlessly, with flying scissor kicks, throwing knives and automatic pistols, has become a formidable, and oddly enough, quite popular motion picture character. She has taken
more need to be said about these films, except that they do seem to imply that either women also want to be considered dangerous, or that the men who watch this films secretly desire to be bashed about be someone who looks like a centerfold. Who knows? Perhaps, the classic adage that beauty is in the eye of the beholder is true, despite its beastly presentation. These films are by no means on the level of the classics, but they are decent time fillers. If anything, watching Charlize Theron decimate a squad of East German police with long rubber hose in Atomic Blonde, and hearing Helen Mirren, portraying a calloused KGB field boss in ANNA, repeatedly utter the phrase “I verk for dee KGB-ee, bebee” is a hoot and worthy of a chuckle, provided that there is nothing better to do. In the past month, dear reader, the world has taken a bizarre turn. Just as 9-11 changed our view of the world, recent events will most assuredly alter our social habits and behaviors. Since all film production has halted world-wide, the most drastic consequences will occur within the motion picture industry. And, just as television reduced theater atten-
son’s operation prior to making an offer, and a gang of street thugs who, under the stewardship of a retired Irish fight coach (Colin Farrell) who tries unsuccessfully to reform them, consistently muck up everything. Ritchie, like his American counterpart, Quentin Tarrantino, has a very distinctive, recognizable style. His greatest talent, however, is in casting. In this offering he has cast Hugh Grant in a role that breaks the actor’s tradition of the playing the bumbling pretty boy. It is perhaps the best job of acting of his entire career (finally!). Matthew McConaughey and Charlie Hunnam brilliantly underplay their villainy as “gentlemen” mobsters; Eddie Marsan, a Ritchie regular, provides the comic relief; Colin Farrell proves that he has a natural ability for performing dark comedy; and, Michelle Dockery tosses out a performance that as far away from her roles as Lady Mary Crawley in Downton Abbey and as the young Queen Elizabeth in The Crown, as possible. Combined with a plot that turns
her place as someone who can easily “out-testosterone” any male villain on the screen. Two recent offerings (both available on Netflix and Prime) are Atomic Blonde, directed by David Leitch of Deadpool fame, starring Charlize Theron, and (what can be accurately described as Atomic Blonde’s cinematic twin) ANNA, directed by Luc Besson (The Fifth Element) and starring newcomer, Russian actress/model Sasha Luss. Compared to the selections mentioned above, these films are pure pulp material, not designed to offer any deep insight, but strangely quite entertaining. Nothing
dance in the mid-20th century, the cineplex may very well be doomed to becoming a museum piece. However, film is an art form, and like all Art, it will always spawn innovation and expression. Currently, future results are a matter of conjecture, and what is destined remains to be seen. Whatever the consequences, the process of making and watching future films will be affected. But as always, dear friends, this is only my opinion. Stay healthy, enjoy what you can, and always judge for yourselves.