Tag: Eddie Marsan

OPERATION FORTUNE: RUSE DE GUERE (2023)

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Directed By: Guy Ritchie 

Written By: Guy Ritchie, Ivan Atkinson, Marn Davies

Cinematography: Alan Stewart

Editor: James Herbert

Cast: Jason Statham, Aubrey Plaza, Josh Hartnett, Hugh Grant, Cary Elwes, Bugzy Malone, Eddie Marsan, Max Beesley, Peter Ferdinando, Lourdes Faberes

In the film, super spy Orson Fortune must track down and stop the sale of a deadly new weapons technology wielded by billionaire arms broker Greg Simmonds. Reluctantly teamed with some of the world’s best operatives,Fortune and his crew recruit Hollywood’s biggest movie star Danny Francesco to help them on their globe-trotting undercover mission to save the world.

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One is kind of surprised by this film as I have to say this is one of the more disappointing movies that Guy Ritchie has ever made, especially as it seems in his wheelhouse. One can see why this was buried and quickly forgotten. As it’s no one‘s best work.

The problem is that this film is just so many things at different times, but then never quite commits to any of them. It’s more of a comedy than anything else, but not with necessarily funny jokes, just situations are ridiculous, and so is the behavior at times, the film constantly feels like a misstep as it is more comedy than action

When there is action, it just feels so basic and not noteworthy, he doesn’t feel that strategic or catching. It just seems more means to an end. 

As you have Jason Statham in the film, and while there’s gunplay, it’s more or less guns than anything.

The film is more ensemble with Josh Hartnett, Aubrey Plaza, and Hugh Grant, so they have their scenes and roles in which they get to shine or show their worth, but again, they never hit the Mark because everything is so broad that there’s nothing that contains the story really.

once guy Richie took over he rewrote the script and still told the cast to pretty much improvised and it feels that way the technical aspects are there, but the dialogue is OK but not quite brilliant repartée

Then the villains are set up, but they keep switching, and none of them are really that effective, it’s almost like they spent so much money trying to get stars in the lead roles that they only had so much money and couldn’t get any other big names to play the villain role.

so watching the film, you know what’s going to happen; there’s no real suspense to anything. It’s sort of like watching the Equalizer films, where Denzel Washington, if you can take out a room and 17 seconds, what hope do the villains at the end have, or put up as a challenge, and it’s the same in this room 

So that this film it’s more of a time waster than anything as nothing quite sticks and plays, smooth and glossy and even every time they seem to set up maybe a character trait it’s quickly forgotten or not used as early in the film one of the reasons that don’t want to use Jason Statham’s spy, character or reluctant is because he seems to try to use excuses and sicknesses to get out of missions, But we don’t get introduced to any of those aspects

Aubrey Plaza’s character seems to have a flirtatious nature where she’s fallen for someone, but we’re never given any reason. Dialogue works for the script and characters. 

Hugh Grant seems to be having a ball with fun villain characters as with more recent roles, he seems to be at least he’s trying to do something different but ultimately it feels like it’s there for no reason . 

While Josh Hartnett is part of the cast and he helps add to the stars name in the cast while also letting him play more comedic role than he has in the past he seems to be in the mission that’s why he’s there but then he’s given very little to do except ask questions and stand around so maybe get some expositional information Then give him or drag him into action sequence car chase really and his character has an about face and that at first you could see as being one-sided, but I guess in the end it kind of makes sense. as it does help open up the film to a new demographic

End it so much once they take out the villain it’s like it feels like there should be more but that’s pretty much it now let’s try some more comedic high jinx.

It just feels like everyone is not necessarily out of their element, but not given anything really to do even though the film seems to want to use their image or public image and talent to help poor or lift the material as otherwise this just comes off as a bland espionage story and script that could’ve been starting and made by anyone there’s nothing quite that special to it.

Now this film did come out when there was a pandemic, though it was filmed after the pandemic. It was postponed for release and finally did in 2023, luckily for it and quickly got released on streaming and was forgotten as this film just feels like a well-funded, but sorry excuse for entertainment, though seems to fit perfectly along with other streaming films as there doesn’t seem to be any passion or much originality

It’s not a horrible film as it is watchable, but it’s just so basic and bland that there’s very little reason other than, again, a time-waster popcorn movie.

Grade: C- 

BACK TO BLACK (2024)

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Directed By: Sam Taylor-Johnson

Written By: Michael Greenhalgh

Cinematography: Polly Morgan

Editor: Laurence Johnson and Martin Walsh 

Cast: Marisa Abela, Eddie Marsan, Jack O’Connell, Lesley Manville, Juliet Cowan, Sam Buchanan, Anna Daras, Spike Fearn, Therica Wilson-Read 

A celebration of the most iconic – and much missed – homegrown star of the 21st century, BACK TO BLACK tells the extraordinary tale of Amy Winehouse. Painting a vivid, vibrant picture of the Camden streets she called home and capturing the struggles of global fame, BACK TO BLACK honors Amy’s artistry, wit, and honesty, as well as trying to understand her demons. An unflinching look at the modern celebrity machine and a powerful tribute to a once-in-a-generation talent.

I was probably always going to be harsh on this film as I am such a huge Amy Winehouse fan and I feel like the documentary. AMY is a definitive and informative statement when it comes to her life.

When it comes to biofilms the best, don’t try to tell the whole story they pick a certain period of the person’s life and fill the drama, even if the drama comes from their past. As Amy lived such a short life there might’ve been room to fit in from birth to her unfortunate death at 27

Even after all these years, it still feels too soon for a biofilm as the scars are still there. So I will say the film isn’t as bad as I thought.

Marisa Abela is the best thing about this movie. She is amazing and mimics her vocal style impressively. There are no problems with her performance.

What hurts the film? Is that even at just a little over two hours? It still feels rushed half the time where you can’t tell what part of her career she’s at times. It would also help the love interest at least the film. Would Moore sweep her off her feet and you could understand why she is so attracted to him other than similar interest. as it plays here, he always constantly seems like a walking red flag, even if he might have some raw sexuality or a danger about him, but it never comes across as convincing that she would just give herself so to this character

Another problem in the film is that we see that she gets depressed over the death of her grandmother and the volatile relationship she has with Blake, but it still never quite explains the other parts of the downward spiral. Yes, we can say depression, but it helps if we’re given more evidence instead of kind of just being told in one scene, or constantly being lonely, we need a little more to flash out and to believe in this more.

Sam Taylor Johnson directed the John Lennon bio film NOWHERE BOY, so this isn’t new territory for her she lands the plane so to speak when it comes to this film, but it is quite a bumpy ride with plenty of turbulence that is more not the adventure of the story or characters, but more in the way the story is told it tries to have a smoothness where it feels like it’s not even trying Standard something a little bit more a TV production than a cinematic vision.

As in the end, it plays more like a sad romantic, love story. That is almost one-sided, though there was definitely passion and emotion somewhere in there. 

One believes that if you are a Die Hard true fan of Amy Winehouse, you do not need to see this film. You should’ve already seen Amy but if you’re just curious as to ask her just a bio seems to be a trend. This feels more like a student rather than, someone who cares about getting the story straight and the facts down

Grade: C

GOD’S POCKET (2014)

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Directed By: John Slattery 
Written By: Alex Metcalf & John Slattery 
Based on the Novel By: Pete Dexter 
 Cinematography By: Lance Acord 
Editor: Tom McArdle 

Cast: Philip Seymour Hoffman, John Turturro, Richard Jenkins, Joyce Van Patten, Eddie Marsan, Christina Hendricks, Molly Price, Dominic Lombardozzi, Caleb Landry Jones, Sophie Takal 

When Mickey’s crazy step-son Leon is killed in a construction ‘accident’, nobody in the working-class neighborhood of God’s Pocket is sorry he’s gone. Mickey tries to bury the bad news with the body, but when the boy’s mother demands the truth, Mickey finds himself stuck in a life-and-death struggle between a body he can’t bury, a wife he can’t please, and a debt he can’t pay

This is a film that’s hard to describe as the fact that you have seen stories like this on-screen before. Though this one feels strangely authentic and that is the scary part. As the film is so downtrodden it seems almost the product of nightmares.

Luckily the film stays low-key. It goes by quickly and with nary a kick. Though it takes its time to tell its story. It doesn’t feel like it’s dragging. It’s surprisingly lean, though it feels indulgent. There is no real fat in the film.

The film has an amazing group of actors, who are all good and believable. You only wish the film had more to give them as far as story and quality. While the film relies heavily on the atmosphere it feels at times like it has very few places to go. It presents circumstances and challenges but very little action and story.

This being one of Philip Seymour Hoffman’s last performances it is noteworthy as he is our put upon the protagonist. Trying to figure his way out of an increasingly sticky situation. While also being his own worst enemy. He seems to be one of the few semi-decent characters who while not being from the neighborhood which everyone reminds him. Still seems very much the product of it as he seems to fit perfectly in.

The film is the story of more a neighborhood that seems to be its own trap. We just watch the inhabitants as they go about their day-to-day life. The main story selling point the death of a young man seems to be just one of those things. An act of senseless violence. That seems like it will become some story of the investigation and seeking justice. Though it ends up just being a catalyst for changes and actions for some characters and setting in motion events.

The film seems constantly depressing as the characters seem to always make the wrong decisions and there is little to no humanity. Everyone is out for themselves. Anytime there is humanity shown it is rather surprising and usually followed by acts of merciless violence.

Christina Hendricks continues to come across as a desirable screen icon. She is luminous and beautiful and though she plays a grieving mother. Later in the film, as she seems to be irresistible to any male. She seems oddly emotionless as her character knows better yet is shocked by the attention paid to her. She commits an act but does so with what seems little care. That has incriminating results that she oddly seems to have no concerns about. Though they affect her.

Richard Jenkins truly makes a mark as a columnist in the middle of all this investigation. While being from the neighborhood has his own demons to deal with while trying to get the story. As he is easily distracted and we get some clues for his condition. We observe his questionable prowess with women also.

In fact, the entire third act of the film becomes strange at how quickly the neighborhood turns from favorable to certain inhabitants to just pure hate and the reason seems rather thin. Like it happens more because the script and story demand it rather than naturally or organically.

John Slattery making his feature film debut, Picked an exemplary story to tell. It always seems when actors choose to direct they pick material more character-based and depressing that has to be gritty to bring more of a reality, but smartly pick material that allows for an ensemble to play off of and includes actors friends who are more the character actor types. He could have done slot worse in the material.

The film at times feels like it is trying too hard to be gritty and showcase all his grime and crime. Then at other times it wisely becomes more understated.

The film has a strangely happy ending or as close as this type of film can have.

This is a film that feels in the same world as TREE’S LOUNGE only not as optimistic and also would go well with a viewing of THE DROP only this is less exciting and feels more authentic.

Grade: B-

SHERLOCK HOLMES (2009)

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Directed By: Guy Ritchie
Written By: Michael Robert Johnson, Anthony Peckham & Simon Kinberg
Story By: Michael Robert Johnson & Lionel Wigram
Cinematography By: Phillipe Rousselot
Editor: James Herbert

Cast: Robert Downey Jr., Jude Law, Rachel McAdams, Mark Strong, Eddie Marsan, James Fox

In London, Sherlock Holmes and his partner Dr. John Watson captures the follower of black magic and serial killer Lord Blackwood that has already killed five women when he is near to kill his sixth victim. Blackwood is sentenced to be strung up and Dr. Watson attests his death. However, Blackwood mysteriously returns from the afterlife and Inspector Lestrade summons Sherlock Holmes to help the Scotland Yard in the investigation. Meanwhile Dr. Watson intends to get married of the gorgeous Mary Morstan while Sherlock is visited by his former lover Irene Adler that has a secret agenda.



 I should have liked this film, but the film is too big, too many action set pieces, Too many explosions. Not enough Mystery. It’s like everything has to be bigger and better like it’s some kind of sequel or Michael Bay movie with better style and some sensibility.

It’s not good enough for Sherlock Holmes to be a good detective but must also be tough by doing bare-knuckle fighting, being a master of disguise, and always having a weapon handy. Like a victorian era super spy.

Once in a while, we get to see how Holmes’ mind works with deductive thinking. While having a semi homoerotic relationship with Dr. Watson, Who he is jealous of because he is not only moving out of the house they share but also getting married. The case they try to crack involves a woman from Holmes past who is lively and almost as cunning as he is and at first the case seems based on the supernatural. Than along the way becomes more logical.

The chemistry between Downey Jr. and Jude Law seems false and more manufactured than it should and makes you wonder if Jude Law was insulted as being the natural-born brit and having to play the sidekick to the American actor taking over a notorious British character.

The film isn’t horrible and it’s nice to see what director Guy Ritchie can do with a sizeable budget, but as I said before everything feels overblown and like it goes out of its way to keep reminding you this is the NEW Sherlock Holmes.

The leads are both charming and mark Strong is a good villain and the film’s more interesting scenes are when he is on the screen or exploring his character and it’s a conspiracy.

While the film is a good popcorn film afterward you start to feel the fat and the grease and wonder why this movie really needed to be made. Again it’s not horrible it’s not bad either. It’s ok and has some things going for it, but the end feels unnecessary and unremarkable. It keeps your attention as any time the film seems to begin to slow down another action sequence pops up. Not always for a good reason, But for the most part everyone involved seems to be having fun.

Wait For Television

GRADE: C

THE GENTLEMEN (2019)

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Written & Directed By: Guy Ritchie
Story By: Guy Ritchie, Ivan Atkinson & Marn Davies
Cinematography: Alan Stewart
Editor: James Herbert & Paul Machliss 


Cast: Matthew McConauhey, Charlie Hunnam, Hugh Grant, Eddie Marsan, Henry Golding, Colin Farell, Michelle Dockery, Tom Wu, Jeremy Strong, Chidi Ajufo, Lyne Renee 

A talented American graduate of Oxford, using his unique skills, audacity and penchant for violence, creates a marijuana empire using the estates of impoverished English aristocrats. However, when he tries to sell his empire to a fellow American billionaire, a chain of events unfolds, involving blackmail, deception, mayhem and murder between street thugs, Russian oligarchs, Triad gangsters and gutter journalists.

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GANGSTER NO. 1 (2000)

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gangster1

Directed By: Paul McGuigan
Written By: Louis Mellis & David Scinto
Adaptation By: Johnny Ferguson
Cinematography: Peter Sova
Editor: Andrew Hulme 


Cast: Paul Bettany, Malcolm McDowell, David Thewlis, Saffron Burrows, Eddie Marsan, Andrew Lincoln, Jamie Foreman, Ken Granham 


A middle-aged crime boss smugly reflects back from 1999, narrating the brutality which made him triumphant – and feared. As an unnamed young hood in Swinging 60’s London, he aped his mod boss Freddie Mays, and seemed to do anything for him. But his narration exposes all-consuming envy: of Freddie’s supremacy, and especially his tall bird. The baby shark develops his viciousness and backstabbing, scheming to be Gangster No. 1.

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FAST & FURIOUS PRESENTS: HOBBS & SHAW (2019)

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Directed By: David Leitch
Written By: Chris Morgan & Drew Pearce
Story By: Chris Morgan
Based on original characters created by: Gary Scott Thompson
Cinematography: Jonathan Sela
Editor: Christopher Rouse 


Cast: Jason Statham, Dwayne Johnson, Vanessa Kirby, Idris Elba, Helen Mirren, Eiza Gonzalez, Eddie Marsan, Cliff Curtis, Eliana Su’a, Rob Delaney 


Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity. This film is a spinoff for the most popular characters from the series who started off as villains and then became fan favorite heroes.

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LONDON BOULEVARD (2010)

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london_2010_a_l

Written & Directed By: William Monahan
Based on the novel by: Ken Bruen
Cinematography: Chris Menges
Editor: Dody Dorn & Robb Sullivan 


Cast: Colin Farell, Keira Knightley, David Thewlis, Ray Winstone, Stephen Graham, Ophelia Lovibond, Anna Friel, Ben Chaplin, Eddie Marsan, Sanjeev Bhaskar 


Fresh out of prison, Mitchel wants nothing to do with crime but accepts a kip from Billy, a marginal grafter, and accompanies Billy on rent collection trips. He’s also old school, wanting revenge on two youths for assaulting a mendicant he’s befriended. He’s got a strung-out sister to protect, and he’s offered a job protecting a famous actress from paparazzi. The plot lines join when Michael finds himself attracted to the actress and Billy’s Mob boss, Gant, finds ways to force Michael work for him. He also warns Michael off revenge against the assailants of his friend. What are Michael’s options: is there any way to avoid Gant, protect his sister, and find a path to love?

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DEADPOOL 2 (2018)

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deadpool-starts-assembling-his-new-team-in-deadpool-2-with-a-boop

Director: David Leitch
Written By: Rhett Rhesse & Paul Werneck, Ryan Reynolds
Cinematography: Jonathan Sela
Editor: Craig Alpert, Michael McCusker, Elisabet Ronaldsdottir & Dick Westervelt 

Music By: Tyler Bates 


Cast: Ryan Reynolds, Josh Brolin, Zazie Beetz, Julian Dennison, Morena Baccarin, T.J. Miller, Leslie Uggams, Briana Hildebrand, Eddie Marsan, Rob Delaney, Terry Crews, Bill Skarsgard, Alan Tudyk 


After losing the love of his life, 4th wall-breaking mercenary Wade Wilson aka Deadpool must protect Russel must assemble a team of mutants and protect Russel from Cable, a no-nonsense, dangerous cyborg from the future and Deadpool must learn the most important lesson of all, to be part of a family again.

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WHITE BOY RICK (2018)

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whiteboyrick

Directed By: Yann Demange
Written By: Andy Weiss, Noah Miller & Logan Miller
Cinematography By: Tat Radcliffe
Editor: Chris Wyatt 


Cast: Richie Merritt, Matthew McCognahey, Bel Powley, Bruce Dern, Piper Laurie, Jennifer Jason Leigh, Rory Cochrane, Brian Tyree Henry, RJ Cyler, Eddie Marsan, Jonathan Majors, YG 


The story of teenager Richard Wershe Jr., who became an undercover informant for the FBI during the 1980s and was ultimately arrested for drug-trafficking and sentenced to life in prison.

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