Joker (2019)

So, the most important social commentary in years? Oh hell no. Don't believe that hype. It is, however, a very good film.

And make no mistake. For better or worse, this is Joaquin Phoenix' film from start to finish. For better or worse. Mostly better, as it is an absolutely astonish performance. And written with an Oscar in mind, no doubt. The Academy loves a malnourished, skinny actor playing a psychopath with everyday struggles. Phoenix has both the nuance and the sheer crazy. It's painful to watch his awkward interaction with society, with or without his involuntary laughter. His feet are always in motion, whether dancing, running or frenetically moving them as he sits by the television. You can feel his loneliness as he sits in a club taking notes for his own stand-up, while laughing at all the wrong places,without ever realizing why. He balances everything perfectly. Making you feel enough for him to feel interested, but never enough to understand him. Nicely summed up on a piece of paper early in the film

As for the other actors, who mostly work as extras, there is special mention for Brian Tyree Henry and Frank Wood, who both have very short scenes, but really make a lasting impression.

The film is very slow in pace, lingering, making you anticipate and dread scenes. Like Arthur's first appearance as a comedian in front of an audience. You know it's coming, you know it will be gruelling. So you dread it. Rightly. Then director Phillips does it again. With such a slow pace, Phoenix is allowed all the space and time he needs. More importantly, the violence feels particularly shocking when it appears. It's a very uncomfortable film to watch, and not because of the violence. It's all about the moods, the dystopia and the bleakness. There isn't much humour here, but it is dark. Phillips has his tricks as a storyteller too, and make no mistake: The novice will be fooled. The cynic perhaps also.

So to the claim that this is an important outlook as to how a society creates a villain. It's certainly done rather well, but there's nothing new here. Gotham was always a bleak city, with a divided society. It was touched by Burton and rammed into the ground by Nolan. The fact that this film doesn't have a hero, doesn't make the story nor concept original in that respect. In some ways, it's almost a homage, as there are so many films referenced indirectly here. At least 3 of the previous Batman-films from the Burton-films until now, V for Vendetta, King of Comedy, Taxi Driver etc.

It's worth noting that Arthur is so invested in being a clown, that even when he runs in his civilian clothes, he runs as if he had his giant shoes on. A further fantastic detail, is the development of his laugh. Throughout the film it's either forced by his medical condition, or by his compulsion to adapt to his society. But towards the end, his laugh towards the TV-audience is in total control, sarcastic and maniacal. The odd one out finally finding his way

A sigh of exasperation: Had they ended the film 3 minutes earlier, with an amazing scene sending shivers down all spines, I would have rated it even higher.

8/10

Thirteen Days (2000)

A 145 minute film about the Cuba Missile Crisis... Surely this has all the hallmarks of tediousness and overly obvious morals?

Costner seems to have a proclivity to films where his character has a family that he can love and worry alongside as the main plot evolves. At times these scenes seem unnecessary, but him telling his wife that he will be evacuated with the President, not joining her and the children in the event of war, is very good. He does excel at playing the smart man with a temper just around the corner, though. And you can fell his anger as he keeps his composure among the brass as they attempt to force the President's hand.

Greenwood is brilliant as JFK, even notching up an award for his work. A bigger surprise is Steven Culp as the cockier, more aggressive and hands-on Robert Kennedy. Always with a complete understanding of any situation, and a way to implement. The brilliant and ruthless one to a tee.

As there is no youth here, this is an opportunity for mature character actors to shine. That makes for a stellar cast. Special mention goes to Dylan Baker and Michael Fairman for memorable interpretations of Robert McNamara and Adlai Stevenson. Baker is front and centre of the films most suspenseful scene (a wonderful nail-biter as the a Russian ship has broken the blockade) and is pitch perfect. Fairman is brilliant as the cautious Stevenson, teetering on the brink of his career, but as all seem to have lost faith in him, and he needs to step up, he has a weary little gem: "I'm an old political cat, Kenny. But I've got one life left". A sublime, understated performance.

The men in dark suits with serious faces work a treat and show you don't need to flash people to get a point across. A few lines, spoken with certainty, with shivering consequences obvious, and the heartbreaking calls Costner has to make as a result, are among the films most memorable scenes. Director Donaldson does an excellent job at portraying the pressure Kennedy was under by his military advisers to launch a full-scale invasion of Cuba instead of a more cautious blockade. Albeit, I do feel he overstates it a bit for simplicity and to make Kennedy shine even more.

There is suspense galore, despite most of it being conversations in dark room between men in even darker suits, with lingering close-ups of very serious politicians and diplomats. The humour is naturally very dry and very clever. Quite perfect. As for the running time it is perfectly viable, until the last few minutes, which are most unnecessary drivel.


Best enjoyed with a large whisky. No ice. Just for the mood.

8/10