The Films of 2020: Villain (dir by Philip Barantini)


Villain is a British gangster movie.

What that means is that there’s a lot of blood and violence but, at the same time, there’s also quite a few scenes of peopled drinking tea.

It means that the dialogue is full of the casual use of the type of profanity that would get you kicked out of a store in America and yet, because all the f-words and the c-words are delivered with British accents, they still somehow sound, at least to an American ear, rather refined.

Being a British gangster film means that the good gangsters live in a tiny flat while the bad gangsters hold meetings in their poshly decorated sitting rooms.  It means that we get at least a few scenes of an aging gangster walking around London after having just been released from prison.  It means a subplot about the ownership of a pub and at least a few talkative junkies.  It means lengthy scenes of threatening dialogue, the majority of which are ended by sudden outbursts of violence.  It means gray overcast skies and downbeat endings and at least one dance scene.

As you may have guessed, Villain is not a particularly original film.  It’s well-made and some of the actors are good and it’s hard not to respect the film’s dedication to being as grim and downbeat as possible but there’s very little about Villain‘s story that will surprise most viewers.  Even the scene where the bad guys taunt the main character by asking him if he’s some sort of “villain” is expected.

Craig Fairbrass plays Eddie Franks,  Eddie is a career criminal who, having just been released from prison, is determined to go straight.  Despite the fact that daughter tells him that “everything you touch turns to shit,” Eddie is convinced that he can turn his life around.  All he wants to do is stay out of trouble and manage his family’s pub.  Of course, we know that there’s no way that’s going to happen.  After all, no one ever makes a movie about someone getting out of prison and then not being drawn back into a life of crime.

Eddie’s problem is that he has a brother named Sean (George Russo) and Sean has managed to get in debt to Roy and Johnny (played, respectively, by Robert Glenister and Tomi May).  Roy and Johnny are always mad about something and they’re definitely not people who you want to owe money too.  They want the pub and they want their money and if they don’t get it, both Eddie and Sean are going to end up in a hole in the ground.

While Eddie is trying to figure out how to deal with Roy and Johnny, he’s also trying to pick up the pieces of his life and make amends for the past.  He tries to reconnect with his daughter, Chloe (Izuka Hoyle) and he visits with an old friend named Michael (Mark Monero).  Eddie wants to be a good citizen but the world just seems to be conspiring against him.  It all leads to a downbeat conclusion, as these things often do.

Villain is a well-directed film and Craig Fairbrass has just the right look and manner to play the haunted Eddie.  Even though you can pretty much guess everything that’s going to happen to Eddie, you still hope the best for him because, as played Fairbrass, he just seems to be so achingly sincere in his desire to rebuild his life.  Unfortunately, as well-made as it is, Villain doesn’t really do anything new with the gangster genre.  It’s a bit too predictable for its own good.  That said, as familiar as it may be, it gets the job done well enough.

Film Review: Free Fire (dir by Ben Wheatley)


Last night, I saw Free Fire, the latest film from the visionary British directing-and-screenwriting team of Ben Wheatley and Amy Jump.

Free Fire takes place in Boston in the 1970s.  We know it’s the 70s because of all the wide lapels, the flared jeans, and the impressive facial hair.  In short, everyone looks like an extra from Thank God, It’s Friday.  Note that I said Thank God, It’s Friday and not Saturday Night Fever.  None of the characters in Free Fire could pull off John Travolta’s white suit.  As much as they try to pretend otherwise, everyone in this film is low rent.  No one is as clever or street smart as they believe themselves to be.  Even more importantly, no one is as good a shot as they think.

The film takes place in a decrepit warehouse, the type of place that is strewn with rats and hypodermic needles.  Chris (Cillian Murphy), Frank (Michael Smiley), Steve-O (Sam Riley), and Bernie (Enzo Cilenti) are members of the Irish Republican Army and they’ve come to the U.S. to purchases weapons.  Chris and Frank are no-nonsense professionals.  Bernie is a well-meaning moron.  Steve-O is a drug addict who, the previous night, got beaten up after he smashed a bottle across the face of a 17 year-old girl.

Working as intermediaries are Justine (Brie Larson) and Ord (Armie Hammer).  Justine specializes in keeping jumpy people calm.  She and Chris flirt as they wait for the guns to arrive.  As for Ord — well, let’s just say that Ord was my favorite character in the film.  He’s always calm.  He looks really good in a suit.  And, whenever things get intense, he’s always quick to light up a joint and make a sarcastic comment.  This is probably the best performance of Armie Hammer’s career so far.  (Or, at the very least, it’s the best performance of his that I’ve seen.  I hear that he gives an excellent performance in the upcoming Call Me By Your Name.)  Certainly, this is the first film that I’ve seen, since The Social Network, in which Hammer seemed to be truly worthy of the hype that has surrounded his career.

Finally, there’s the gun dealers themselves.  There’s Martin (Babou Ceesay), who seems to be fairly low-key professional.  There’s Gordon (Noah Taylor), who is a henchman who looks disconcertingly similar to Chris.  And then there’s Vernon, who is from South Africa and who is constantly talking and smiling.  Not surprisingly, Vernon is played by Sharlto Copley.  Finally, Harry (Jack Reynor) is a driver who desperately wants to impress Ord.  Harry loves John Denver and he also loves his cousin.  In fact, he loves his cousin so much that, when he recognizes Steve-O as the junkie who smashed a bottle across her face, Harry pulls a gun and starts firing.

The rest of the film deals with the resulting gun fight, which is complicated with two mysterious snipers (Patrick Bergin and Mark Monero) suddenly open fire on both of the groups.  Who hired them and why?  That’s a mystery that could be solved if everyone stops shooting and yelling at each other.  Of course, that’s not going to happen because 1) no one is a good enough shot to actually get the upper hand and 2) almost everyone in the warehouse is an idiot.

At it’s best, Free Fire mercilessly parodies the excessive violence of modern crime cinema.  When it comes to crime films, most people just remember the shoot outs so Free Fire takes things to their logical extreme by just being a 90-minute gun fight.  At its weakest, Free Fire occasionally becomes exactly what it’s parodying.  The film’s structure — one night in one location — proves to be limiting.  At times, you find yourself really wishing for a flashback or at least a little exposition to explain who everyone is outside of that warehouse.  The cast is full of good actors and they all give good performances but the characters are, at best, thinly drawn.  At times, it was difficult to keep track who was who.  I especially found myself mixing up Michel Smiley and Sharlto Copely.  It was all the facial hair.

About 30 minutes into Free Fire, I was already composing a bad review in my head but, by the final shot (and yes, the double meaning is totally intentional), Free Fire had won me over.  It’s an experiment that doesn’t really work but it’s so relentless and dedicated to seeing its story to its conclusion that I couldn’t help but appreciate the film’s efforts.  When the guns finally did stop firing and the end credits started, I was shocked to discover that, without even realizing it, I actually had gotten just a little caught up in the film’s story.

Ben Wheatley and Amy Jump previously gave us one of the most memorable films of the decade (so far), A Field in England.  Free Fire might not quite work but I’ll always make the time to see the latest from Wheatley and Jump.