cinema

Linklater’s ‘Hit Man’ is the hidden gem at the Venice Film Festival 

„Chivalry may be dead, but I didn’t kill it“ In 2001, author Skip Hollandsworth published a piece for the Texas Monthly about a man called Gary Johnson. Naming him “the most professional killer in Houston”, he was hired to kill more than 60 people – what his clients didn’t know is that he never actually killed. He is a fake Hit Man who works for the police as a side hustle. In everyday life Gary Johnson is your average guy. Always polite. Friendly. Living on his own with his two cats.  Would be an interesting premise for a film, right? At least that’s what director Richard Linklater and Hollywood’s rising actor and this film’s producer Glen Powell thought as well. While changing some (major) details on the true story of Johnson, they presented their new film ‘Hit Man’ this week at the Venice Film Festival outside its competition and received a flood of positive Feedback.  Director Richard Linklater had his hands on comedies before. You might know some of his films since he also worked on classics like ‘School of Rock’ or even well-known Love Stories like the ‘Before Sunset’ trilogy. For a good while he didn’t really land a hit, but I think that might change once this one hits theatres. With Hit Man, he attempts to bring Rom-Coms back to the big screen. And these days I feel like we desperately need them back.  In his Version of the Gary Johnson story, the fake Hitman is portrayed by producer Glen Powell himself. Just that Gary here isn’t aware that he looks like Glen Powell. He wears his flannels in his shorts. Jackets that are way too big for him. Small glasses and outside his little side hustle for the police he passionately offers classes at the local university. He actually used to be the IT dude for these Hit Man cases. He just suddenly has to replace their usual guy for a while. Turns out this can be a fun way to invent yourself. Dive into new roles. He researches each Client and creates a fictional Hit Man based on their likings. Patriotic American dude? Sure, Gary will put on some fake Tattoos, a denim vest and gel his hair back to make it look more nasty. Someone intimidating? How about we imitate Patrick Bateman from American Psycho. It’s all fun and games until he meets Madison (Adria Arjona). A client who doesn’t really want to get her husband killed, but sees no other way to escape her marriage. Instead of exposing her to the police, he wants to help her out. Then again… then again and, oops, are we catching feelings here? The falling in love with a client part certainly wasn’t in the books. Especially given the fact that Madison doesn’t know Gary but only the cool, laid-back Hit Man ‘Ron’.  The screenplay is very well and humorously written by Linklater and Powell himself. It feels well-paced, and you barely notice the time passing by. It plays around a lot with Film Noir Clichés. Always trying to reflect those and never being too much. This may be Linklaters best film in years.  Powell proves to be Hollywood’s rising star. It was incredible to watch him dive into so many different roles and prove that he doesn’t only have the charisma and looks to but that he has the perfect comedic timing to be an excellent actor in comedies.   Something I truly liked was the question of identity always remaining front and center. Gary educates his students on the Id, ego and superego after Freud. Simultaneously exploring his own self constantly and challenging it, by playing different Hit Man for every individual client. It would’ve been even more interesting to dive deeper into the darkness of the story and while the film looked amazing one could’ve put more work into the production design. Nevertheless, the fact that the audience gave huge scene applauses and constant cheers during the screening solidify the film’s exceptionality.  This is truly a hidden gem at the Venice Film Festival that proves that comedies can also have its place in here.  Funny, intelligent, and always having the question of Identity in its center makes ‘Hit Man’ the Rom-Com we all may need after a long day. -Rue

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Review: Fincher’s Latest Film Delivers a Gripping Tale of a Flawed Assassin

An Intro with an eerie tone. We see weapons. Pictures of a crime. Tension. The newest David Fincher film ‘The Killer’ premiered at the 80th Venice Film Festival upon its release on Netflix this October.  We meet Michael Fassbender as ‘The Killer’. He’s a lonely assassin. Spends all day sitting in an empty apartment. Waits for his target. Plays the Smiths. Does Yoga. Plays the Smiths again.  He is cold hearted and has his principles. No empathy. No remorse. He never misses. Until he does. After messing up a target he must escape. The Hunter becomes the hunted. His conclusion: he must get rid of those who might come for him first.  The editing in this is marvelous. While the film is slow and takes things step by step, the editing somehow feels faster paced. You cannot look away. Every shot feels thought out. There isn’t a lot happening, but when it does, it gets its audience’s fullest attention. ‘The Killer’ also delivers daunting scenes that feel cruel (which is something you might expect from a Fincher film). But then again, we also have a few scenes that made the audience light up in a little nervous laughter. Questioning oneself whether it’s cool to laugh over what we see on screen.  We have a protagonist who seems cold-hearted. He isn’t charming. Not really relatable (I mean if he is to you, I’d be a little scared). He barely talks to other characters. He does talk to us though. In this way this felt very Dexter-esque, a Killer with a constant inner monologue. Minus the charm Dexter, for example, had to offer. Nevertheless, the inner monologue makes us understand him and his actions as well. We get why he mentions his own rule book repeatedly. There are many scenes where we understand that he certainly isn’t as cold as he thinks he is. Even in the beginning when he misses his target, we see him doubt himself.  The sound design is haunting and something you may expect from a Fincher film. The fight scenes we see here, especially a certain one with a Bodybuilder are so fun to watch because they’re so well executed.  This feels more like a character study. To me, sadly, I didn’t quite get warm with him. I didn’t expect him to be an empathetic or relatable person, yet I somehow needed more to hold onto him. Care about the assassin we follow along for 118 Minutes. Nonetheless, this is incredibly well done. Michael Fassbender does an excellent job at playing our Killer and maybe if you stop trying to take his character serious and realize he’s doubting himself, it’ll become way more fun to watch. One thing I can agree on with our Killer here, is that the Smiths truly rock.  Overall, I think we can all agree that Fincher truly remains to be the master of suspense. (And now that the Killer is almost out and brings Fincher back to the crime scenes. I must do my duty here and ask Mr. Fincher to finally work on a third Season of the Mindhunter.) 

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Review: Standing Ovation for Michael Mann’s Highly Anticipated ‘Ferrari’ at the Venice Film Festival

I am sure we have all heard of Ferrari. We can picture the red cars. The sounds of the engines. Despite growing up seeing those cars race for the win, I never really paid much attention to their inventor. Nor did I know it was a two-man job between Enzo Ferrari and his wife, Laura Ferrari.  After gracing us with films like Heat (1995) and Collateral (2004), director Michael Mann introduces us to the life of the Ferraris. While the film is mostly centered around Enzo Ferrari (Adam Driver), we get to see a good look into the lives of the people surrounding him as well.  The Film is a biopic, though it tries to back away from its clichés. We know very little about Enzo Ferrari’s childhood and dive into the story 10 years after he and Laura Ferrari (Penelope Cruz) built up their business and became well known figures. Nevertheless, the film at its core thematizes the topic of family. Which is why this turned out to be a positive surprise. Considering this is a movie centered around perhaps the most well-known race cars in the world, one might think the film won’t back away to be exactly that, without deep plot devices or interesting characters. But Michael Mann’s Ferraricares deeply about its source material and the story behind the Ferrari Family.  After seeing films at the Venice Film Festival that offer very poor characterizations of female characters, Mann’s film shines with two very powerful women in the forefront. Penelope Cruz is a force in this. Her scenes, although little, are captivating. She is truly a show stealer, and this may be one of her best performances in a long time.  Shailene Woodley, portraying Enzo Ferrari’s late partner Lina Lardi, gives this dynamic the heart it needs. And for those expecting to see a car race, ‘Ferrari’ does not disappoint either. A very huge event in this film is the Mille Miglia race, that is known to have a huge tragedy on its way. Although the audience can feel that something is about to go wrong, the tension and the feeling it causes in the end, is something one cannot foresee. The Scenes are graphic and seem rather surreal, which makes the fact that this actually really happened even more tragic. When seeing this at the Palabiennale in Venice with a crowded audience, the room turned completely silent. The film manages to explore its characters and offers a compelling storyline. However, one aspect deserving critique is the attempt to talk English with an Italian Accent, executed effectively and subtly by Penelope Cruz, but seemed rather distracting with Adam Driver’s role. Despite that, the cast offers stellar performances.  A film worth seeing on the big screen. From us, ‘Ferrari’ will receive 3 ½ of 5 Stars.

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Review: Standing Ovation for Michael Mann’s Highly Anticipated ‘Ferrari’ at the Venice Film Festival

I am sure we have all heard of Ferrari. We can picture the red cars. The sounds of the engines. Despite growing up seeing those cars race for the win, I never really paid much attention to their inventor. Nor did I know it was a two-man job between Enzo Ferrari and his wife, Laura Ferrari.  After gracing us with films like Heat (1995) and Collateral (2004), director Michael Mann introduces us to the life of the Ferraris. While the film is mostly centered around Enzo Ferrari (Adam Driver), we get to see a good look into the lives of the people surrounding him as well.  The Film is a biopic, though it tries to back away from its clichés. We know very little about Enzo Ferrari’s childhood and dive into the story 10 years after he and Laura Ferrari (Penelope Cruz) built up their business and became well known figures. Nevertheless, the film at its core thematizes the topic of family. Which is why this turned out to be a positive surprise. Considering this is a movie centered around perhaps the most well-known race cars in the world, one might think the film won’t back away to be exactly that, without deep plot devices or interesting characters. But Michael Mann’s Ferraricares deeply about its source material and the story behind the Ferrari Family.  After seeing films at the Venice Film Festival that offer very poor characterizations of female characters, Mann’s film shines with two very powerful women in the forefront. Penelope Cruz is a force in this. Her scenes, although little, are captivating. She is truly a show stealer, and this may be one of her best performances in a long time.  Shailene Woodley, portraying Enzo Ferrari’s late partner Lina Lardi, gives this dynamic the heart it needs. And for those expecting to see a car race, ‘Ferrari’ does not disappoint either. A very huge event in this film is the Mille Miglia race, that is known to have a huge tragedy on its way. Although the audience can feel that something is about to go wrong, the tension and the feeling it causes in the end, is something one cannot foresee. The Scenes are graphic and seem rather surreal, which makes the fact that this actually really happened even more tragic. When seeing this at the Palabiennale in Venice with a crowded audience, the room turned completely silent. The film manages to explore its characters and offers a compelling storyline. However, one aspect deserving critique is the attempt to talk English with an Italian Accent, executed effectively and subtly by Penelope Cruz, but seemed rather distracting with Adam Driver’s role. Despite that, the cast offers stellar performances.  A film worth seeing on the big screen. From us, ‘Ferrari’ will receive 3 ½ of 5 Stars.

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