Written by the Icelandic Poet Sjón and Robert Eggers, and directed by Eggers, “The Northman” is a Viking Epic adapted from the tale that directly inspired William Shakespeare’s Hamlet. If you’re familiar with Hamlet, or “The Lion King” for that matter, you’ll recognize the story structure well enough, but the way Eggers realizes those familiar elements is efficiently brutal and unjudgmental of the past’s morality. Set roughly around the year 900, we begin the tale with the return of King Aurvandil War-Raven (Ethan Hawke) to his home in Northern Ireland after a successful military campaign. Aurvandil’s brother Fjölnir (Claes Bang) is slow to join the festivities with the family and fellow villagers, but he does after awhile, bringing a brooding demeanor to the gathering. After some time establishing Prince Amleth’s (Alexander Skarsgård) life before the inevitable tragedy, we’re introduced to his Mother, Queen Gudrún (Nicole Kidman) and King Aurvandil’s Fool, Heimir (Willem Dafoe) before The King and Heimir indoctrinate young Amleth into Manhood through some strange and trippy long-held traditions. Afterwards Fjölnir and his men turn heel and betray the king, killing him in front of Amleth as he quickly scrambles towards freedom. While rowing away from the shores of his home, Amleth recites the mantra that will fuel him for the rest of the film, “I Will Avenge You, Father. I Will Save You, Mother. I Will Kill You, Fjölnir.” Now that’s character motivation!
Fast forward into Prince Amleth’s adulthood and we’re met by the hulking beast of a man that the scared boy has transformed into. Amleth and a band of similarly gargantuan Viking berserkers then attack a village with ruthless abandon, ironically orphaning many more children in the long wake of Amleth’s own tragedy. Violence begets violence after all. However, putting our own lens of modern morality aside, Amleth is the hero of this tale, so we get no whitewashing or “prettying up” of the story at hand, and for that I am thankful. Letting the story breath and evolve on it’s own merits without bringing all of our baggage to the tale heavily imbues the film with an air of authority on it’s own world, on the traditions of the characters we see, and with the mythmaking at hand. Eventually our Viking Wolf-Bear (There’s a lot of growling, snarling, and involved roleplaying with the Vikings) hears word that his uncle Fjölnir, now titled “The Brotherless”, has lost his throne to another Warlord and is now living on a small farmstead in Iceland with Amleth’s mother and a small troupe of slaves to tend to the land. With that news fresh in his mind, Amleth sneaks into Iceland under the guise as one of the slaves being transported to Fjölnir’s land. While there he’s quickly found out by Olga (Anya Taylor-Joy) who decides to help him in his quest for vengeance. Eventually they make a plan and slowly begin to turn the farmstead against themselves in occasionally hyper-violent fashion.
While “The Lighthouse” may still be Eggers’ best efforts so far in his career, “The Northman” still delivers us an epic worth telling. The score, cinematography, and performances all converge on Eggers’ style which is becoming more recognizable with each new film. Like a sculptor, or Ernest Hemingway’s literary style; as I see it, Eggers’ removes the unnecessary and strips down the story and performances to their core attributes without over embellishing. The story is simple, revenge. The way it’s handled here though is perfectly realized mythmaking. In this world, mystics and magic exist, though they’re similarly muted like the depiction of magic in “The Lord of The Rings” to some extent. Valkyries and the undead alike serve their mythmaking purposes to great effect, there’s even a mythical sword called the Nightblade that can only be drawn at night, or at the Gates of Hel. Once Amleth begins to unravel the sanctity, and sanity, of Fjölnir’s Icelandic peace, the film revels in it’s horrific imagery as well as it’s commitment to savagery through heroism.
If you’re looking for original films that aren’t a superhero sequel or solely as a vehicle for big name stars, this film should sate those who seek something different. In fact, there are several films in theaters right now that I highly encourage you to check out. There’s the increasingly popular “Everything Everywhere All at Once” by the Daniels in perhaps the most thoroughly satisfying Multiverse-oriented film this year, with apologies to Sam Raimi. Michael Bay also has a great new film in “Ambulance” starring Jake Gyllenhaal and Yahya Abdul-Mateen II. Not to mention Nic Cage’s Action-Buddy film with Pedro Pascal in “The Unbearable Weight of Massive Talent” where Nicolas Cage plays an exaggerated version of himself. If any of those premises caught your interest I have full reviews of all those films over at Films Fatale and the links to each are listed below. You might want to catch them before Dr. Strange annihilates the Box Office this Friday, oh and check out my review of that Multiverse Madness over at Films Fatale over the weekend as well!
Final Score: 1 Hungry Nightblade
*I’ve also been writing film reviews over at Films Fatale, check them out here:
Over the last few weeks I saw three new releases in theaters, and in this film critic’s humble opinion, each one was a cinematic triumph. The main thread linking each film, unfortunately, is that despite these films having mid to large budgets, numerous big name actors attached to each one, AND the fact that each film is directed by auteur film directors in Ridley Scott, Edgar Wright, and Wes Anderson- none have performed well financially at the box office. Granted, there are a huge number of caveats to this year’s box office numbers for every major film release- but given the recent major resurgence in theater-going audiences that began in earnest this year with “Shang-Chi and The Legend of the Ten Rings”, it’s a bit discouraging to see a lack of interest in these excellent films. I sincerely appeal to you dear reader, please go see these films at the theater. If you care at all about the filmmakers and actors putting these films together, and the future of adult themed films being able to obtain star power and big budgets, again, I implore you, give these films a shot if you’re feeling safe enough to do so. Unfortunately, studios will take note when the money doesn’t exactly roll in. Especially in the case of “The Last Duel” and it’s dwindling box office returns, which is a crazy turn of events considering the talent involved.
“The Last Duel”
Written by Nicole Holofcener, Ben Affleck, and Matt Damon, and directed by Ridley Scott, “The Last Duel” is a medieval “Rashomon” of sorts in which characters reflect on the events leading up to the titular duel. The first version of the story is told through the eyes of Matt Damon’s Sir Jean de Carrouges, a man of war who works for Dukes and Kings, even when looked down upon by those he serves and those who galivant with the powerful. The second version of the truth is from Adam Driver’s Jacques Le Gris, a Nobleman of the realm who did indeed fight alongside Jean de Carrouges in war, though he eventually befriend’s Ben Affleck’s Duke Pierre d’Alençon- who bristles at even the sight of Jean de Carrouges. The third and last truth is told from Lady Marguerite’s (Jodie Comer) point of view, and her story holds the most revelations as she is the victim of a brutal sexual assault by Jacques Le Gris. Obviously, each person believes they are the hero of their own stories, and as each of them will not budge from their account of the truth, the solution is to have both men battle in a duel to the death and, “Let God decide who is right”. As far as the production of the film, everything looks great, Scott keeps each story on the same visual level creating a cohesive world while distinctly altering each repeated scene as the characters view them. It’s a damn smart film on a technological level. The action scenes, especially with the titular duel, are outstanding, visceral, and powerful. Naturally, as the Knight of the three, Jean de Carrouges has the majority of these scenes in his version and within Jacques Le Gris’s story as well. They truly add to the overall theme of the film, that living in the past may not be as glorious as we’d all like to think it could be. Story wise, the film also excels as each version of the truth told by each character layers the other two’s perspectives to a level that ultimately may be the closest thing to the truth. Though, the film does take a side of the three characters as to whose version actually IS the truth. Within the context of the film, it makes all the sense in the world to have Lady Marguerite’s version of the story be the true version, but admittedly, I prefer Kurosawa’s take on the central idea- that everyone embellishes and no one is capable of telling the truth without muddying the waters a bit. In “Rashomon”, for example, even the ghost of the dead character who speaks on the issue of their own murder couldn’t help but embellish the truth. Though, Lady Marguerite’s version greatly impacts the other two chapters of the film and how each character could misinterpret each other’s intentions. Though I have to say that even in Jacques Le Gris’s version of the rape scene, it’s not easy to watch. Sure, he sees it as a more playful endeavor- but he’s still, clearly, in the wrong. Lady Marguerite’s version of that scene is so much worse and far more brutal- even with subtle changes in the edit, like punching up the sound design to sound… well it’s just worse and more painful. It’s certainly hard to watch, but it does give the actual duel more weight. Speaking of the duel, the film also chooses to depict the battle as a disgusting, and frankly gross, way to solve a dispute. In this world and time however, it’s the closest thing society had to…. justice? It’s a brilliant move that informs the audience that even with all of the pomp and circumstance, all the talk of honor and pride, it’s just two men fighting to the death in the mud over what happened to a woman- who in this time is viewed, unfortunately, as property. History is brutal dear friends, and while it’s fun to romanticize Knights, Kings, and Queens- it wasn’t exactly a great time to be alive for many of us. That being said, I do highly recommend seeing this one.
“Last Night in SoHo”
Written by Krysty Wilson-Cairns and Edgar Wright, and directed by Wright, “Last Night in SoHo” is a Horror Mystery film in which a young aspiring fashion designer moves to London and eventually finds herself being transported to 1960’s London every night. Thomasin McKenzie stars as Eloise, a young woman who’s accepted into a fashion design school in London and promptly travels there from the countryside. She’s quite obsessed with the culture from the 1960’s through films, fashion, and music. After Eloise encounters a bit of a rude social awakening with her peers at the university, she moves to a small one-bedroom flat nearby. Once she rests her head in her new home at night, she’s transported to that glitzy and glamorous 1960’s London. After a moment out on the street in dazzling wonder, Eloise makes her way into a nightclub and in the reflection of some walled mirrors she sees not herself, but the magnificent Anya Taylor-Joy reflecting back at her. She decides to follow the moment and watches Anya Taylor-Joy’s confidence whisk her into a dance and departure sequence with the charming Matt Smith as her eventual manager in entertainment. To reveal much more would be a disservice to those interested in giving this film a shot, but I must say that I do highly recommend it, the mystery of the story is a lot of fun! I was recently reading a book titled “The Film That Changed My Life: 30 Directors on Their Epiphanies in the Dark” and Edgar Wright’s chosen film was an informative one. The film that irrevocably changed his perception of films and filmmaking was “An American Werewolf in London” a briskly paced horror-comedy from 1981 whose immediate spiritual connection with Wright’s own “Shaun of the Dead” is immediately noticeable. In his passage, Wright spoke about that film’s relationship with the horror genre and how much he wanted to tackle the genre himself one day, and here we are in 2021 with Wright’s first legitimate Horror film. As it’s his first film in the genre, there’s some genuinely creepy and harrowing ideas that Wright throws at the screen, especially once the third act gets rolling. However one of the more interesting aspects of the film comes with how he approaches nostalgia. Those rose-tinted glasses might be lying to you, the past may not be as romantic as you once thought. While at times he does rely on a bit of jump-scares, nothing is outright obnoxious, but it’s a trait revealing his beginnings within the horror element. The jump-scare ghosts within the film itself aren’t all that scary, however the scenes depicting Eloise’s inability to escape being transported back to 1960’s London at night- that is some terrifying stuff. What’s worse is the horrible awful things done to young women in the entertainment industry in the past (and in the frighteningly recent past too as the Me-Too movement revealed). If you’re a fan of the British filmmaker this is just another fascinating entry in his evolution as a director and screenwriter and I highly suggest seeing it if you can. If you’re new to Wright in general, go see it! Then give his older films a watch, they’re to die for!
“The French Dispatch”
Written and directed by Wes Anderson with story elements written from the likes of Roman Coppola, Hugo Guinness, and Jason Schwartzman. “The French Dispatch” is Wes Anderson’s tenth film, and it feels like the culmination of all his previous films rolled into one gigantic smorgasbord of cinematic delights. The whole conceit of the film is that The French Dispatch was a fictional American Newspaper, set in a fictional French city (Ennui, pronounced AHN-WEE), with the story focusing on the last edition of the Newspaper and the journalists who wrote each piece. First we get a small bit of information about the Newspaper, how it started, and the editor who ran it up until his death, Arthur Howitzer Jr. played exquisitely by Bill Murry. Which is the inciting incident of the film and the reason it’s the last issue. Each major section is narrated by the journalist that wrote the piece, and each one is a depiction of life in Ennui as seen through the eyes of the writers. The first bit is effectively a short written by Herbsaint Sazerac (Owen Wilson), which details the city itself and the downtrodden, homeless, school children, street walkers and prostitutes who live in it. The three major pieces are written by J.K.L. Berensen (Tilda Swinton), Lucinda Krementz (Frances McDormand), and Roebuck Wright (Jeffrey Wright). Each one focuses on different aspects of the city they lived in and the stories they thought worthy of telling. Each one is unique and fantastically fabricated. Berensen’s piece focuses on an artistic savant, who also happens to be a psychotic killer living in prison in perpetuity while Ms. Krementz chose to dive into the student revolution taking place in the city in a war of ideologies between Ennui’s generations. Roebuck Wright’s piece delivers the goods on an infamous night in which he was invited to dine with the Police Chief’s superb in-house chef, known far and wide for his culinary skills. The infamy in question began with the kidnapping of the Police Chief’s son during the dinner. I’ll leave the plot descriptions at that for now, as they are told much more skillfully by the writers and performers of the actual film itself. This is the sort of film that I go to the movies to see. Actors in costumes, on hand-crafted sets, using practical props, with monologues and action beats and lots and lots of wordplay. I’ve always been somewhat 50/50 on Wes Anderson, though the back half of his career has given us some of my all-time favorite films. Notably, “The Grand Budapest Hotel” and “The Life Aquatic”. This one however, may be my new favorite Wes Anderson film, and possibly my favorite new film of the year. I’ll have to reflect and see it again when thinking back on 2021’s admittedly outstanding collection of film releases if I’m being honest. However, anyone that’s not much interested in Wes Anderson films to begin with, may not be as in tune with “The French Dispatch” as I was. For anyone uninterested in the quirks that commonly come packaged as criticisms, of this director, mainly that he’s “too literary“, “too invested in European culture“, or “too kitschy or twee“- these potential audiences will most likely not be persuaded by this film. Indeed “The French Dispatch” is all of those things and more, some could call it style over substance, but I’d take issue with that criticism personally- there’s heaps of substance, whole island nations of substance, if you ask me. It just may not be for you in execution. Yes, his dollhouse aesthetic is still present, as is his love of symmetrically composed shots and lateral movement tracking shots, but would it really be a Wes Anderson film if he didn’t do any of those things? Probably, but perhaps not? This film is amongst his strongest work, and I really do recommend giving it a watch, even if you haven’t enjoyed Anderson’s work in the past, this one was particularly enjoyable in my opinion.
Written and directed by Robert Eggers, “The Witch” is A New England Folktale set roughly in the 1630’s that follows the story of a family cast out from society in the new American colonies for being accused of “prideful conceit”. While we never get the exact details about what William (Ralph Ineson) and his family engaged in to receive a sentence as damning as banishment, that isn’t what the story is truly about anyways. We can surmise that William probably took his own interpretation of the bible to be more accurate than those of the colony. As he claims in the opening scene that he practiced only “the pure and faithful dispensation of the Gospels”. Thus the film begins as the family of seven treks out into the wilderness, firm in their decisions, unknowing of their doom to come.
The family consists of Caleb (Harvey Scrimshaw) the eldest son- though he’s only about twelve, Mercy (Ellie Grainger) and Jonas (Lucas Dawson) the young twins that earn the title of creepiest kids in the film, and Thomasin the eldest daughter, a few years older than Caleb and easily the standout performance of the film- though all are great. Katherine (Kate Dickie) the Mother, who unravels psychologically and spiritually as the film progresses, is at a complete loss once the youngest child, Samuel the baby, is mysteriously abducted near the beginning of the film. It’s always a gamble with child actors, but this may be the best use of little performers since “Jurassic Park” (I’m not dying on that hill- I just rewatched the classic recently and it’s been rambling about in my headspace since). They’re all poise perfect in their period-accurate performances. Thomasin in particular is a fascinating role, as the family crumbles from within Witch accusations are aimed at her, and there is a bit of sly wit hidden subtly in her performance that makes you ask, Wait… is she actually the Witch? The paranoia of the family is infectious to say the least. Though Caleb makes an argument for the best, and most chilling, scene in the whole film- it certainly got to me in the moment.
See, the beautiful trick of the film is that while the title may indicate that the film is about “The Witch”, and there is indeed some supernatural underpinnings trifling about, it’s more about the effect that the Witch has on this family. They are torn apart as much by their superstitions and fears of damnation as they are of the titular creature’s actions. In fact it is this weaving of the supernatural with the sense of hard realism that makes the film stand out from it’s genre limitations to become something more than the sum of its parts. On a technical level, the film pays homage in cinematography and framing to old religious renaissance paintings, particularly of Goya’s work on the subject of Witches (Even though he lived a century later in Spain). The score is also worth mentioning as it fuels the sense of a tense and bellowing doom. Booming orchestral vocals against a moonlit forest paint the mood for the film, danger lies at the edge of the woods, damnation is afoot, and trust is cast aside.
Old religious imagery sprinkled in throughout the film with the age appropriate attitudes of the family combine to heighten the dread that would be nearly impossible within a modern setting. We don’t take everything in life as a seriously as those before us had. After giving this film a watch I haven’t been able to stop thinking about it, so I read up on what countless others had to say on the matter. There was something particularly unnerving about the film that I just couldn’t articulate efficiently, Was it the acting? The setting? Or simply the unabashed originality behind it? Then I gave the New Yorker’s review of the film a read and Anthony Lane perfectly exemplified what I was missing, “This is, to put it mildly, an uncommon state of affairs for anyone who frequents the cinema, the theatre, or the opera house. How many people, these days, heading out of ‘Don Giovanni,’ are honestly shaken by the mortal terror of the hero, in his final conflagration? Which of us treats ‘The Crucible,’ set sixty years or so after the events of ‘The Witch,’ as anything but a reflection on the political hysteria of the time in which it was written? The problem is simple: we can’t be damned. One gradual effect of the Enlightenment was to tamp down the fires of Hell and sweep away the ashes, allowing us to bask in the rational coolness that ensued. But the loss—to the dramatic imagination, at any rate—has been immense. If your characters are convinced that a single action, a word out of place, or even a stray thought brings not bodily risk but an eternity of pain, your story will be charged with illimitable dread. No thriller, however tense, can promise half as much.” The historical context and how accurately the characters were represented in their actions and fears gave the film an unshakable authenticity- we believe that the characters believe with a steadfast resoluteness. There are no jokes or irony in their performance, no release once the film has you in it’s grasp.
“The Witch” is a fascinating and unconventional horror film that preys upon our past to craft a finely tuned and chilling film. I definitely recommend it if you’re into unique offerings in this genre- though it is slow at times and will definitely not be for everyone (It wholeheartedly earns its ‘R’ rating). I wouldn’t recommend it to new parents- unless they enjoy fresh nightmare scenarios they hadn’t yet considered to keep them awake at night. It’s out on streaming services and physical media at this point, give it a watch if you can- it’s definitely a standout of the genre in my opinion.