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Hot Docs 2018: GURRUMUL (Australia 2018)

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Gurrumul Poster
Celebrated by audiences at home and abroad, indigenous artist Geoffrey Gurrumul Yunupingu was one of the most important and acclaimed voices to ever come out of Australia.

Director:

Paul Damien Williams

Stars:

Mark Grose, Michael Hohnen, Sting

 

GURRUMUL is a name most people have never heard of.  So the image of him as seen on the cover of “Rolling Stone” magazine must stand for something.   Celebrated by audiences at home and abroad, Indigenous artist Geoffrey Gurrumul Yunupingu was one of the most important and acclaimed voices to ever come out of Australia. 

 Blind from birth, he found purpose and meaning through songs and music inspired by his community and country on Elcho Island in far North East Arnhem Land.  Living a traditional Yolngu life, his breakthrough album ‘Gurrumul’ brought him to a crossroads as audiences and artists around the world began to embrace his music.   William’s film follows his life as told by his mother, father, uncle and assortment of relatives.  He has two white folk aid him in publicity and his work. 

 GURRUMUL is unlike most biographies where there is downturn and then redemption.  But Gurrumul is no angel either, as his manager gets extremely frustrated when he does not show up for his American tour.  But the film that stresses Gurrumul’s voice and songs comes across as a rather lacklustre affair despite director William’s effort of educating the audience on Gurrumul’s tribal responsibilities.

The only time the film comes alive is the duet performance of “Every Breathe you Take,” by Gurrumul and Sting.

Trailer: https://www.youtube.com/watch?v=TXa3gw3g4C4

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Hot Docs 2018: OVER THE LIMIT (Poland/Germany/Finland 2017) **

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Over the limit Poster
An intimate portrait of the world’s most outstanding rhythmic gymnast Margarita Mamun who needs to overcome mental fragility to take part in the Olympic Games.

Director:

Marta Prus

Writer:

Marta Prus

Stars:

Yana Kudryavtseva, Margarita Mamun, Irina Viner

 

OVER THE LIMIT begins with a beautifully choreographed display go gymnastics by Olympic gymnast Rita Mamun, doing wonders with a hoop.  To the audience’s surprise, she is then violently chided by her trainer, a Ms. Irina despite praise from her coach, Ms. Amina.  The film concentrates its focus on these three individuals. 

 

 Ms. Irina is depicted as the wicked manipulative witch who hurls abusive insults and personal attacks on both Rita and the coach.  The main goal is the winning of the Olympic goal which becomes the climax of the doc.  Is this successful Russian system for training athletes transgresses boundaries really worth it?  Results may show but the path and destruction of human lives might not.

 

This is what Prus intends to show and succeeds.  Elite rhythmic gymnast Rita Mamun has reached a crucial moment in her career.  This is a difficult to watch nail-biting behind-the-scenes drama about the intense physical and mental labor put into a sport that thrives on its beautiful aesthetics.  But there are too many repeated segments of Ms. Irina abusing Rita.  The audience gets the point early in the film.

Trailer: https://www.youtube.com/watch?v=W47fIKJJAVw

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Film Review: MARY GOES ROUND (Canada 2017) ***

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Mary Goes Round Poster
Mary is a substance abuse counsellor with a drinking problem. After getting arrested for drunk driving and losing her job, Mary returns to her hometown where she learns that her estranged …See full summary »

Director:

Molly McGlynn

Writer:

Molly McGlynn

Stars:

Aya Cash, Kimberly-Sue Murray, Aaron Poole

 

MARY GOES ROUND is the story of Mary.

Mary (Aya Cash) is what one might called a loser.  Her family split up when she was a child and, after her mother died, she was left alone, uninterested in (and maybe incapable of ) reconnecting with her father, Walt (John Ralton). She drinks to excess, crashes a car, loses her boyfriend and suspended from her job.  Her life goes round, nowhere.  Hailing from Toronto, she decides to leave, but not for the better as she discovers.  Despite the negativity facing Mary, the film turns out to be quite upbeat, credit going to writer-director Molly McGlynn who allows her poor heroine a path of redemption.

Mary is a substance abuse counsellor who ironically gets arrested for a DUI.  When she returns to her hometown of Niagara Falls, she learns that her estranged father is dying of cancer and wants her to form a bond with her teenaged half-sister Robyn (Sara Waisglass) that she’s never met.  All this might sound like boring family drama but writer-director Molly McGlynn knows how to liven up the festivities.  Yes, Robyn is as much a shit disturber as Mary.  Mary also has money problems.  She has to pay her lawyer.  She is being charged for drunken driving and to make matters worse, has to appear in court.

McGlynn’s film benefits from her unique spirited style, complemented by the film’s main character, Mary.  Humorous is the way Mary tries to control her drinking but is incapable of it.  Her shenanigans, getting drunk in a bar, getting laid, having sex with strangers and often getting sick are done with a wry sense of humour instead of being done dead seriously.

The film is not without sentiment.  McGlynn includes a touching moment when the father reminds Mary when she was kind as a child when he and to pull her from a bum because she was going to give him her allowance to allow the bum to save to buy a house.

The only friend Mary has in Niagara is black.  When she shows up at the door to drive the father to the hospital, his look of surprise is in itself a surprise.  A sly message of acceptance is included in the story.

The best scene in the film is the one when Mary absolutely loses it and tells off her dad – while he is in hospital.   Then she goes off to tell her black friend off, who ends up telling Mary off.  Actress Aya Cash proves her acting chops in these two scenes.  This is the reason McGlynn’s film works.  She keeps the film dramatic, smart and funny throughout.  Mary can be right, then wrong – strong then vulnerable in the next moment.

“Good people do shitty things,”  so says Mary’s boss when questioned why she does not get fired after caught drunken driving.  Mary’s boss has faith in Mary in an awkward meeting that demonstrates faith in the good of human beings.  MARY GOES ROUND is solid Canadian fare that comes with an upbeat message as well.

Trailer: https://www.youtube.com/watch?v=CKhkOottsbA

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Film Review: FOURPLAY (USA 2018)

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Fourplay Poster
Trailer

A story of friendship, love, marriage, secrets, lies that unfolds between two couples in one apartment during a Sunday brunch that will affect their lives forever.

Director:

Dean Matthew Ronalds

Writers:

Emanuela Galliussi, Francesco Plazza | 1 more credit »

Stars:

Tammy Blanchard, Bryan Greenberg, Dominic Fumusa

 

Tom and Anna. Joseph and Susan.  These four people (portrayed by Bryan Greenberg, Tammy Blanchard, Dominic Fumusa and Emanuela Galliussi, in alphabetical order), two couples meet for a Sunday Brunch drinking session to celebrate Tom’s business success.  As the drinks continue, the party spirals downwards to rock bottom.

The film feels at times too much of a set up.  The first instance this can be observed is at the start of the film when the couple, when kissing accidentally breaks the grandmother’s vase that has been there for generations.  If the vase was this valuable, why would they leave it in such a vulnerable place.  Another is the arm wrestling.  The clearly strongest guy unbelievably loses his two matches.

A few glaring dialogue corrections.  It is not the plug but outlet or socket that does not work.  On the positive side, the dialogue contains a lot of current issues.  Issues such as negativity vs. positivity, eating meatless, sexual appropriateness and male chauvinism come into play.  The males are clearly meant to display male chauvinism here that the wives will surely rebuke.  The designated psychic’s dialogue is terribly annoying and corny.  “Change the impossible to – I M possible.”  The film often turns out more as a contest between male vs. female, rather than one about couples.

One wonders the reason for the film to be shot in black and white.  It could be deliberate to evoke the black and white 2 couple film of Edward Albee’s play, WHO’S AFRAID OF VIRGINIA WOOLF? starring Elizabeth Taylor, Richard Burton, Sandy Dennis and George Segal with the identical premise of two quarrelling couples drunk at a house party with the result of skeletons jumping out of the closet. 

One missing ingredient at the party is a dance interlude.  WHO’S AFRAID OF VIRGINIA WOOLF? had the famous Sandy Dennis scene: I dance like the Wind, the segment that  likely won her the Oscar.

“Live in the present.  That is the only gift we have,”  is the message given at one point.  “Then that is a pretty shitty gift,” comes the answer.  Would anyone want to be present at this party?

The first twist in the plot in the form of a skeleton in the closet arriving right at the film’s one hour mark.  It is a good one that lifts the film out of declining interest.  10 minutes comes another twist.  This one, however does not work and turns the film into a shouting math among the 4 – not to mention the credibility now of the story.  The credibility of the third turn in the plot is not even worth mentioning.  The film also suffers from a suitable ending.  Director Ronalds opts for the camera panning the sky outside the apartment.

“We are finally cleansed.  We should be happy.  We could start from the beginning.” says the wannabe psychic at the end of the movie.  If only the audience feels the same way about the movie.  FOURPlAY ends up a pauper’s version of WHO’S AFRAID OF VIRGINIA WOOLF?, and a party no one would like to be at or witness.

Trailer: https://www.youtube.com/watch?v=c_c97OYmlxA

 

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Film Review: MAKER OF MONSTERS: THE EXTRAORDINARY LIFE OF BEAU DICK (Canada 2016) ***

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Meet Beau Dick: Maker of Monsters Poster
Meet Beau Dick gives an intimate look into the life of one of Canada’s greatest artists. Beau Dick worked within an ancient tradition and rose to the ranks of international success within the white cube world of contemporary art.

Directors:

Natalie Boll, LaTiesha Fazakas

Writers:

Natalie Boll, LaTiesha Fazakas

Stars:

Bruce Alfred, Wayne Alfred, Eric Angus

 

Beau Dick is a famed artist, activist, mask carver and musician.  He has teaching residency at the University of British Columbia.  He is also native Canadian, which is the reason mainstream Americans have never heard of him.  The emblem of a truly great artist is the ability to give form to the intangible.  Tapping into the collective memory of his people and breathing new life into an age-old tradition, Beau Dick is one such artist.

The film begins with a beautiful shot of Alert Bay.  The Village of Alert Bay is a municipality on beautiful Cormorant Island, northeast of Vancouver Island.  It is the home town of Beau Dick.  There are many stunning shots of British Columbia interspersed throughout the film, the film likely being positive incentive for B.C. tourism.  The film goes on to detail the history of the man and his ancestors before he became famous.

The question is why anyone would be interested in Beau Dick.  Or why anyone would want to spend 90 minutes learning about his life.  The reason is simply that the man is inspirational.  What he has done for his culture and people is remarkable and there are major lessons to be learnt from Beau Dick.

The film takes time to unfold.  A bit of patience is needed but the waiting pays off.  Directors Boll and Fazakas realize that it takes time to establish the roots behind Dick’s actions, especially the political marches.  One political march that took place stretched all the way from B.C. to Ottawa which culminated with the breaking of a copper body plate.  It sounds silly but it is a native tradition that had not been practised for ages.

Among those interviewed are his two daughters from his ex-wife and his ex-wife herself.  A biologist studying the humpback whales in Victoria is yet another who gives her input on the importance of the environment as Dick fights for the environment as well.  She provides insight on wild and farmed salmon fishing, which is new to me.  One should be able to tell when eating wild vs. farmed salmon from the colour and texture of the fillets.

One of the directors, Fazakas is an art gallery owner herself.  She turns the camera on herself as she describes Beau Dick. praising him for the emotion in his work.

Beau Dick has had bad days in his life.  He had been on the wagon for 10 years after succumbing to alcohol for a full twenty years.  He was also addicted to crack cocaine before getting his life straight.  The film has him confessing about his addiction but never comes back to it.  Directors Boll and Fazakas stress his positive contributions to his people and Canada.

The film will be playing initially two shows, one on March 29th and one on April 1st in Cineplex theatres (markets below) across Canada, then be available digitally nationally on March 30th.

Trailer: https://vimeo.com/251359571

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Film Review: READY PLAYER ONE (USA 2018) *** Directed by Steven Spielberg

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Ready Player One Poster
Trailer

When the creator of a virtual reality world called the OASIS dies, he releases a video in which he challenges all OASIS users to find his Easter Egg, which will give the finder his fortune.

Director:

Steven Spielberg

Writers:

Zak Penn (screenplay by), Ernest Cline (screenplay by) | 1 more credit »

Stars:

Tye Sheridan, Olivia Cooke, Ben Mendelsohn |

 

At the promo screening of READY PLAYER ONE, the MC who introduced the movie said that if one enjoys gaming, special effects and CGI, this is the movie, and if not…..”  His words are so true, as Steven Spielberg’s latest venture, based on the book of the same name by Ernest Cline is just that – too much going on screen for the average moviegoer to absorb.  Half of the humour and logic are completely lost, but on the other hand, half of what transpires on screen might be appreciated.

The film is set in the future of 2045 in Chicago where people live in what are called ‘the stacks’ as their cramped quarters are stacked one above the other.  The hero of the piece is an orphan, Wade Watts (Sheridan Tye) a youth of 18 who lives with his aunt (Susan Lynch) and her abusive boyfriend.

The is is the story’s premise.  The world is in the grip of many worries: energy crisis, disaster caused by climate change, famine, poverty, war, etc.  In this chaotic world, OASIS is a global virtual reality system ], accessible through head-mounted and haptic devices such as gloves and coveralls.  Originally conceived as a massively multiplayer online role-playing game (MMORPG), it has become over time a true virtual society which all humanity uses as an outlet.  It is a place everyone wants to be in and where everyone gets to be whoever he wants.  The players win coins (shades of bitcoin) but lose everything if they are killed.  Its creator, James Halliday (Mark Rylance, who now appears to be Spielberg’s favourite actor), is one of the richest men in the world.  Immediately after his death, a video is released in which he appears, explaining that he decided to bequeath his huge fortune, 500 billion dollars, and his company, GSS, to the person who will find an easter egg hidden in the OASIS.  The goal is to find three keys scattered in the OASIS and which are the preliminary to the discovery of the egg.  

The villain of the piece is Nolan Sorrento (Ben Mendelsohn) who for the most part wears a suit and tie.  He was Halliday’s partner who wants to own the entire OASIS, though he is not that familiar with all the pop culture that comes with OASIS.  He, comically has someone who does, connected to him via headphones so he can impress whoever he wants that he knows all.  He tries to foil Wade and his gang from finding the three keys.  Yes, there is also romance between wade and Samantha (Olivia Cooke) amidst all going on behind the action.

The search for the 3 keys and the east egg (in a film appropriately timed to be released at Easter) takes our heroes though a journey that includes, of all things, Stanley Kubrick’s horror movie THE SHINING.  Those familiar with the film will be pleased to see the twin girls and the river of blood coming from the two open doors.

The film, despite dwelling on pop culture kitsch has a few sensitive moments – a story of soul to be found in a special effects soulless film.  The film looks stunning with cinematography by Oscar winner, Janusz Kaminski (SCHINDLER’S LIST).  The film costs a huge bundle of millions to make and it shows.  The film astounds as it bores, is soulful as it is soulless, a contradiction in entertainment but nevertheless, an successful failure.

Trailer: https://www.youtube.com/watch?v=cSp1dM2Vj48

 

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Film Review: SHERLOCK GNOMES (USA/UK 2018) ***1/2

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Sherlock Gnomes Poster
Trailer

Garden gnomes, Gnomeo & Juliet, recruit renowned detective Sherlock Gnomes to investigate the mysterious disappearance of other garden ornaments.

Director:

John Stevenson

Writers:

Ben Zazove (screenplay by), Andy Riley (story by) | 9 more credits »

Stars:

Kelly Asbury, Mary J. Blige, Emily Blunt

 

SHERLOCK GNOMES is the 3D animated sequel to the 2011 successful animated GNOMEO AND JULIET.  In case one is wondering what Sherlock Gnomes has to do with the original characters, SHERLOCK GNOMES the sequel has Gnomeo and Juliet in it, as two of the main characters, once again voiced by James McAvoy and Emily Blunt respectively.  Michael Caine and Dame Maggie Smith reprise their voice roles (immediately recognizable) as gnomes Lord Redbrick and Lady Bluebury.

When the film opens, gnomes are being stolen from gardens in London, England.  They will be smashed and destroyed within 24 hours unless Sherlock Gnomes (Johnny Depp) and Dr. Watson (Chiwetel Ejiofor) foil the culprit who turns out to be Professor Moriarty (Jamie Demetriou).  He is foiled in the London Museum of Natural History and presumed dead.  The film then switches to the garden of Gnomeo and Juliet where Juliet is given the task of making the garden work by spring, the next season.  But gnomes start disappearing once again and Sherlock establishes that Gnomeo and Juliet’s garden is next.  It is!  All the gnomes go missing except for Gnomeo and Juliet who happen to be out of the garden at the time.  The four solve the mystery and save the day – and the garden!

Stevenson is no newbie to animation having directed KUNG FU PANDA and worked in the art department of the SHREK films.  SHERLOCK GNOMES benefits from his experience as evident in the humour that caters to both kids and adults.  For one, the bond between Holmes and Dr. Watson and enmity between between them and their arch enemy Moriarty as in the Sir Conan Doyle novels are kept respected.  The villainous Moriarty is fashioned after Batman’s joker in his laughter and antics, he even saying like in the BATMAN film, that there is a love affair between him and his enemy.  Jamie Demetriou does a marvellous job voicing the cartoonish villain, as do his animators.

Sir Elton John executively produced the film and his songs are featured in the film.  There is even an Elton John gnome playing a sparkled piano.  Immediately recognizable is “Don’t Go Breaking My Heart” that is played during the opening credits.  The song is relevant to the film’s message.  The story involves the respect between Holmes and Dr. Watson and between Gnomeo and Juliet.  Both couples are having relationship problems that need to be solved.  These are serious issues dished out for the adults while the younger audience can relish the childish gnome dances.

The animation is impressive especially of the gargoyles that guard the kidnapped gnomes.  The gnomes are also sufficiently detailed in their 3D looks.  Of the voice characterizations, Ejiofor and Demetriou stand out.  Johnny Depp gets away with his British accent as Holmes.

SHERLOCK GNOMES’  budget comes just under $60 million compared to GNOMEO AND JULIET’s $36 million.  It is still a bargain considering Disney’s expensive animated features.  The almost perfect family film!

Trailer:  https://www.youtube.com/watch?v=TR-sefx8ncI

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Full Review: JOURNEY’S END (UK 2017) ****

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Journey's End Poster
Trailer

Set in a dugout in Aisne in 1918, it is the story of a group of British officers, led by the mentally disintegrating young officer Stanhope, as they await their fate.

Director:

Saul Dibb

Writers:

Simon Reade (screenplay), R.C. Sherriff (novel) | 2 more credits »

Stars:

Paul Bettany, Sam Claflin, Stephen Graham

 

JOURNEY’S END about soldiers (Officers and enlisted men) during an offensive in the trenches during the First World War is a story that is already too familiar to us.  Still, it is a story that needs repeating, to remind the world of the futility of war and that orders coming down from the top brass would ultimately be executed often to the death by the men of lower ranks, who has loved ones and families back home.  JOURNEY’S END is based on the 1928 play and filmed two years later by James Whale which starred Sir Lawrence Olivier as Cpt. Stanhope now played brilliantly convincingly by Sam Catlin.  The updated screenplay be Simon Reade is by no means flawless, (words like a person needing to be sorted’. the word never used at that time; an offbeat change of scenery back to England for the reading of a letter) but serves the fiilm’s purpose.

The film begins like any war film.  There is news of the war and word of fighting in France against the Germans.  Things get real only when the audience can put a face to the goings-on.  The face in this case belongs to green 2LT Laleigh (Asa Butterfeld) who wishes to join the battalion of his old school mate Cpt Stanhope who used to be his house monitor and good friend of him and his sister.   Stanhope is found to be changed due to the strain of war.  In the trenches are Lta Osborne (Paul Bettany)  veteran who is the most stable of the lot and apparentlythe one who keeps everything together.   

When the men are ordered to attack the Germans in two days time in an effort that seems pointless, casualties increase and things come to a boil in this realities tale of men caught in the war apparently to fight in what they believe for their country. It is made clear at one point, that the assault is to take place at 5 pm so that the higher ups can discuss the results over dinner.

Despite the film’s seriousness in tone, Reade’s script is not devoid of needed humour, which is provided by stiff faced Toby Jones as Mason, the men’s cook.  If not describing his cutlets as new in shape or the yellowness of the soup to entice the blandness of his meals, the on running jokes on the meals are nothing short of hilarious.

The narrow trenches emphasizes the claustrophobia of the location complete with mud rats though only one is shown) and worms oozing out from the mud during a meal.  To Dibb’s and the production designer’s credit, the film never feels like a play.

Though one might wonder at the film’s aim, it is clear that Dibb’s message is that one is never to forget that human beings are the ones fighting the war, and there are casualties on both sides as the end credits remind both sides of the millions that have died in WWI.

Trailer: https://www.youtube.com/watch?v=yPX-kajacyc

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Film Review: PACIFIC RIM UPRISING (USA 2018)

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Pacific Rim: Uprising Poster
Trailer

Jake Pentecost, son of Stacker Pentecost, reunites with Mako Mori to lead a new generation of Jaeger pilots, including rival Lambert and 15-year-old hacker Amara, against a new Kaiju threat.

Director:

Steven S. DeKnight

Writers:

Steven S. DeKnight, Emily Carmichael | 3 more credits »

Stars:

John Boyega, Scott Eastwood, Cailee Spaeny

 

Steven S. DeKnight takes over the director’s reins from Guillermo del Toro making his directorial debut in the sequel to the 2013 hit PACIFIC RIM.  PACIFIC RIM is del Toro’s most successful film at the box-office making over $400 million worldwide at the box-office.  UPRISING costing $150 million aims to do the same.

The premise of the first film which is the backdrop for uprising is summarized in voiceover at the start of the film by Jake Pentecost (John Boyega from STAR WARS).  That film was set in the future, when Earth is at war with the Kaiju, colossal sea monsters which have emerged from an inter-dimensional portal on the bottom of the Pacific Ocean.  To combat the monsters, humanity united to create the Jaegers, gigantic humanoid machine robots, each controlled by at least two pilots, whose minds are joined by a mental link.  The Jaeger was championed by General Pentecost, Jake’s father played by Idris Elba.  Jake was partying it up when the film opens.

UPRISING is set ten years after the Battle of the Breach, the oceans have become restless once again, but the Jaeger program has evolved into the next generation for the PPDC.  However, a mysterious organization has reopened the Breach for the Kaiju and a Jaeger has gone rogue.  Jake Pentecost, son of Stacker Pentecost, rises up to stand against the evolved Kaiju and the mysterious rogue Jaeger, Obsidian Fury, to prevent humanity’s extinction and preserve his father’s legacy.

The film is divided into two parts.  One is the action sequences, which with its $150 million budget are executed with all the pyro-technics, metal crunching and noise expect from a Hollywood blockbuster.  The film will also be released in iMAX which boasts – “See a movie, or be a part of one.”  Regardless, be prepared to get a headache.  This is a very loud film.  The second is the camaraderie among the Jaeger group.  Jake Pentecost bonds with Mako Mori to lead a new generation of Jaeger pilots, including rival Lambert (Scott Eastwood, Clint’s son) and 15-year-old hacker Amara (Madeleine McGraw), against the new Kaiju threat.  The pilots are all buffed and ideal specimens of the human race.  The script by Steven S. DeKnight, Emily Carmichael, Kira Snyder and T.S. Nowlin displays the normal enmity as well as camaraderie of the Jaeger fighters.  But dialogue like: “…not how you perform but what people think how you perform…” are meant to be taken tongue in cheek, playing with typical cliched lines.  The banter between Dr. Newt Geiszler (Charlie Day) and Dr. Hermann Gottlieb (Burn Gorman) works better.

As the first film was huge hit in China, UPRISING has a few scenes shot in China, as observed by the Chinese on the streets running away from the monists, looking like old monster movies.

Despite the efforts for making PACIFIC RIM UPRISING rise above the first PACIFIC RIM and TRANSFORMER franchise, UPRISING turns out to be a big bore with too much noise and CG effects.

Trailer: https://www.youtube.com/watch?v=_EhiLLOhVis

 

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Film Review: THE DEATH OF STALIN (UK/France 2017) ***

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The Death of Stalin Poster
Trailer

Follows the Soviet dictator’s last days and depicts the chaos of the regime after his death.

Director:

Armando Iannucci

Writers:

Armando Iannucci, David Schneider |

 

Stars:

Steve Buscemi, Simon Russell Beale, Jeffrey Tambor

Joseph Stalin dies unexpectedly turning his ministers into panic.  There is a re-balance of power and power grabbing, a state funeral and other un-niceties.  The premise appears perfect for a black comedy.

THE DEATH OF STALIN, as the film is appropriately called can be divided into three parts, with sufficient chaos devoted to each.  The first part of the film establishes who is who around Stalin.  The  second is the passing of Stalin and his funeral.  The third is what happens after with Stalin’s ministry.  The film is described on film sites as a ‘comedy’.

Among the who’s who is Nikita Khrushchev (Steve Buchemi) who starts taking charge after Stalin’s passing.  Lavrentiy Beria (Simon Russell Beale) receives the worse end of the death, being accused of murder, execution, torture and yes, multiple rapes of little girls, of which Beria demands a fair trial.  Other well known actors Michael Palin (of Monty Python), Rupert Friend, Paddy Considine and Jeffrey Tambor add to the impressive cast making up ministers of various departments like defence, agriculture and so on.

Unlike his previous hit IN THE LOOP, Iannucci ’s THE DEATH OF STALIN, treads on the same grounds of political humour bordering on satire but turns out more crass and desperate for laughs.  The word ‘fuck’ is uttered too often and sounds out of place in a setting where the real Stalin and his men actually should be speaking Russian.   Example: When Stalin’s son is its on making a speech at his father’s funeral, Khrushchev’s response is: “and I want to fuck Grace Kelly.”  The questions: “What the fuck is going on?” is uttered many times.  The running joke of enemies of the State executed, tortured or imprisoned is fondly used.  When Stalin suffers a hurt attack and a doctor needed urgently, it is remarked that all the old doctors have been sent to he Gulag.

The film feels artificial with English spoken throughout, instead of Russian with subtitles.  The spectrum of accents is distracting.  While Buscemi speaks as if an American, the majority including Stalin speak with a strong British accent.

Despite the variety of accents, the performances are quite convincing.  Each actor could pass of as a Stalin comrade.  Buschemi is particularly hilarious, though the use of vulgarities could be toned down a little.  Jason Isaacs is also memorable as the Russian field marshall who is very fond of punching those he does not like right in the face, and then joke about it.

The sets, costumes and production design is to be commended for an authentic period Russian piece. 

In THE DEATH OF STALIN, which premiered last year at TIFF, cheap jokes and crass humour with lots of vulgarity appear the order of the day!  But these still bring in the laughs.  Just don’t expect classy black satirical humour but crass black satirical humour.  The ending is superb though with a shot of Leonid Brezhnev watching over the new proceedings like a cunning fox.

Trailer: https://www.youtube.com/watch?v=ukJ5dMYx2no

 

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