Tag Archives: Domhall Gleeson

The Revenant

the revenant

“I ain’t afraid to die anymore… I did it already.”

Oh goody! Another “inspired by true events” film. I mean, for crap’s sake, I’m getting sick of reading “based on a true story” in trailers and at the start films. Aren’t you? And critical acclaim or not, sitting down to watch my third dramatisation of a true story in less than a week – the others being here and hereThe Revenant had absolutely NONE of my confidence.

Man. I’ve never been so happy to eat my words and stuff a bit of humble pie down my cake hole.

“Inspired” by the true story of Hugh Glass, a fur trapper in 1820’s Montana, The Revenant is the latest film from the Oscar winning director of last year’s Birdman and 2007’s Babel, Alejandro G. Iñárritu. It stars powerhouse couple – and two of my personal favourites – Leonardo DiCaprio and Tom Hardy in the good guy/bad guy one-two punch.

Set in the 1820’s, during the time of the Louisiana Purchase, Glass (DiCaprio) leads a team of hunters and trappers who narrowly survive a brutal ambush by some native tribes. Soon after escaping into the hills, Glass is savagely attacked by a grizzly bear. Stitched up to the best of their abilities by the remaining group members (including his son, Hawk (Forrest Goodluck)), Glass is reluctantly left for dead. Tom Hardy’s terrifying John Fitzgerald isn’t willing to wait for Glass to die and so decides to speed things up – only for Hawk to complicate matters.

Fitzgerald’s plans go horribly, horribly wrong when several miracles, a few strokes of luck and a twist of fate see Glass crawl from his makeshift grave. With revenge on his mind, the explorer must quite literally crawl after his prey. As time goes on and his body begins to heal, Hugh must brave the winter landscape, the roaming Native Americans and the wildlife to find retribution against his would-be murderer.

Man! Where to begin? Iñárritu’s direction, as expected, is stunning. The exceptionally long shots that have become a staple of his films in recent years are here in all their glory. For example, the opening ambush, filmed in one long, flowing shot, is comparable to the opening scene from Saving Private Ryan in its beauty and brutality. It is possibly one of the greatest scenes put to film in quite some time. Similarly, the bear attack is possibly the scariest, most viscerally affecting scene I’ve ever watched. As this animal literally tears strips out of DiCaprio’s hunter, every strike from those claws and every roar from this massive Grizzly had me pushing back in my seat wanting to get away from it. Every shot is beautifully framed. It looks cold, unforgiving and every splash of blood in the snow glistens beautifully.

Both guys in the lead roles are spectacular. DiCaprio’s performances over the years have always included stories of the lines he crossed pushing for the best performance he can; The Revenant is no different. Coming along with tales of making himself sick, forgetting he’s a vegetarian and chowing down on some raw bison liver, the man’s almost feral role of Hugh Glass is quite possibly his best role yet. If it wasn’t such a ridiculous ongoing joke over his constant snubbing by the Academy, I’d be screaming to give the man an Oscar for his role of the vengeful trapper. In the same vein, Tom Hardy’s cold and scary performance as Fitzgerald is maybe his best – and certainly his most terrifying since he spent his days being Charlie Bronson all those years ago. The pair chew up every scene they are in; and the ones they share – from the fast paced opener to the literally nail-biting last scene – are pure cinematic gold. And the supporting guys (including Domhall Gleeson and Will Poulter) all come together to bring you one of the most well performed movies in years.

The Revenant stands proud this year. In a sea of absolute dross chasing Academy gold, Iñárritu’s film is just a stunning masterpiece of a film that stays with you long after the lights have come up. It’s possibly the best film I have seen since last year’s Mad Max: Fury Road. The only reason I’m not screaming out loud for statues all around is because I haven’t seen Creed yet.

It’s not perfect, with a bit of sag in the middle that makes it feel needlessly long and some bloody awful dubbing of the native languages that stick out in such a great flick. But aside from that, The Revenant is easily in the running for the best film of the year already. Your move, 2016.

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Star Wars: Episode VII – The Force Awakens

Star Wars: The Force Awakens Ph: Film Frame © 2014 Lucasfilm Ltd. & TM. All Right Reserved..

My love affair with Star Wars began in 1997 when they were re-released in to cinemas for the 20th anniversary of A New Hope hitting the silver screen. I was 10 or 11 and had not seen them on television before – or at least not to my recollection.

Sure, I’d seen other big action films before. I had certainly seen Jaws and Jurassic Park – and I am sure that I had seen Apollo 13 too. All great, but nothing blew me away quite like Star Wars.

When ‘A Long Time Ago, In A Galaxy Far, Far Away’ hit the screen, followed by the fanfare, opening crawl and shots of spaceships in battle, I was overawed and in love straight away.

Don’t get me wrong; I’m no geek or nerd, and you won’t find me at Comic-Con or bidding on eBay for the mint condition collectable of ‘second alien from the right in the Mos Eisley Cantina’. But if there are two things I’m obsessed with, then it’s football and Star Wars. That’s in spite of the prequels trying to dampen my love for them.

So, when Disney bought the rights from George Lucas and announced a new trilogy plus spinoffs, bidding to build a Star Wars version of the Marvel Cinematic Universe, my excitement was tempered by trepidation. Would this be another Gungan filled Phantom Menace, or a return to form?

I’m happy to say it was the latter; a fun film that just felt like Star Wars. There were no trade disputes or convoluted issues in the senate hall. It was fun, it was exciting, it was intriguing, it was emotional, it was laugh out loud funny and it was dark.

Luke, Leia, Han, Chewie, R2D2, C3PO and The Millennium Falcon all return to the franchise along with a number of background and secondary characters, giving call backs to the original trilogy (not much, if anything, from the prequels found its way to this to this corner of the galaxy) making certain that you are in Star Wars territory.

In fact, Han and Chewie are their usual, roguish, all-action selves. You can’t help but love the pair and feel a twinge of joy and nostalgia most of the time that they are on the screen.

However, it’s the new cast members that steal the show. This was John Boyega and Daisy Ridley’s big screen debut – arguably Adam Driver’s as well – and they perform admirably. Certainly adapting to and growing into their roles, as the reluctant heroes Finn and Rey, and the villainous Kylo Ren.

Kylo Ren is dark. Really dark. Darker than the darkside dark; conflicted and irrational. You get this real sense of menace from him. Although Snokes (his ‘boss’) lacked that and one of the downsides was his CGI appearance – not to give too much away, as I’m sure there’s more to come.

The Tarkin, to Ren’s Vader, was played by Domhall Gleeson. A small role performed well – again, hopefully there’s more to come in subsequent films.

It was as though Ridley and Boyega had to come out of this on top. One minor gripe from me: Their thick British and American accents respectively did grate a little bit.

Other than that though, they were both excellent. Especially when you consider it was two relative unknowns taking over the reins in cinema’s biggest franchise. I’ve no doubt big things await the pair.

Finally, Oscar Isaac was great in the limited role he was given as an X-Wing pilot and modern-day Han Solo, Poe Dameron. Charming, funny and adventurous; it will be good to see an expanded role for the Resistance’s best pilot in future films.

The action was as you would expect: Fast paced and fun, with jokes aplenty (more than any of the originals). Whereas the comedy in the prequels fell flat, this hit all of the right notes. And, of course, John Williams scores the film perfectly.

JJ Abrams has proven that he was the right choice for director. He rebooted Star Trek well enough for the big screen – although Into Darkness had its problems – and was trusted with this. He put the right team around him and successfully pulled it off.

I’m sure the film has its faults. Maybe once I calm down I’ll notice them? Still, it was a joy to watch and left me with a smile on my face, but still wanting more.

It’s not the best Star Wars film, but it is better than any of the prequels by some way and I think it is as good as Return of the Jedi, if not better.