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Manege-vinden.be bevat helaas nog geen maneges in Hensies. Dit geldt ook voor de gehele provincie Henegouwen (manege Henegouwen). This movie has the potential to ruin friendships, to break up longstanding movie clubs. It could set in motion such thought-provoking and justifiable, yet completely conflicting, interpretations, that one could argue for weeks on end. It is marvellous. Luce tackles a myriad of issues – race relations, privilege, mental health, parenting – but does not give easy answers, or any answers at all. It simply creates a backdrop for you to wander into, pokes you from all sides, but, more importantly, unsettles you all the way through. Poor Luce, seen as either a monster or a saint, gets pressure from all sides – his white parents wanting him to be okay, his black teacher wanting him not to be a black stereotype, and his friend telling him he is their Obama. Luce questions the difference between working towards being the token black boy that does well, and running away from a black stereotype. In the meantime, he maintains an eerie facade in front of everyone, perhaps even himself. Through brilliant performances, characters turning either good or bad at the drop of a hat, a spine-tingling soundtrack and a plot that keeps you guessing, Luce has a sustained menace that will creep out the strongest among us. It is eerie from start to finish. You don't know who to believe, or who to like. Apparently, nobody. There is one particularly poignant scene, where Miss Wilson's mentally ill sister, Rosemary, shows up at the school. She ends up stripping down and hitting her own naked body. Two police officers taser this fragile, female, black body, and Rosemary contorts into an almost beautiful ballet-type pose before collapsing and being dragged out of the school. I was awestruck. Teenage Luce is suffocated by all the expectations, expectations he did not ask for; and how he reacts to it you will have to see for yourself.
Reney W false
"In 1941, Ulric Cross, a young man from Trinidad, leaves his island home to seek his fortune. He survives the war as the RAF's most decorated West Indian. Then, his life takes another course, and he becomes part of the movement of history. Cross's long life spans key moments of the 20th century, including independence in Africa and the Caribbean." The extraordinary story is there – war hero, law expert, survivor, charmer – but the movie fails its subject dismally. It comes across as self-indulgent and confused. The biggest problem is the format – the drama-documentary. You have snippets of interviews with Cross, then recreated dramatic scenes, with some archival footage of London, WWII, etc thrown in for good measure. None of it sits well together in this case. Especially jarring is the footage of the director herself supposedly filming Ulric, mixed with the actual footage she shot. It is unnecessary. The subject would have been served better if the film were either a straightforward documentary or a cinematic film. The astonishing story would translate well into either format. The recreated scenes are beautifully filmed and styled, and could've easily morphed into a full-length cinematic film. On the other hand, the interview with Cross (and his wife) could've been expanded upon with other interviews, perhaps clips of his actual radio broadcasts, etc. With brilliant documentaries such as Netflix's new The devil next door, the bar for documentaries has become exceptionally high, though. Perhaps someone else will translate this incredible life into film, because these are the kinds of heroes we should bring to the forefront.
This is the Rotten Tomatoes consensus on Dark waters: "Dark waters powerfully relays a real-life tale of infuriating malfeasance, honouring the victims and laying blame squarely at the feet of the perpetrators." Sure, it is an incredible real-life tale; it does honour the countless victims and does blame the horribly guilty parties. But, geez, it was quite a dull ride. Sure, a film such as Erin Brockovich is sensationalist – a bit cheesy, but it was a hoot to watch, and I am still referring to it 20 years on. I bet, five years from now, when faced with someone else's Teflon pan and the evil legacy of the coating – the subject of Dark waters – I will be squinting and frowning, trying to recall even the name of this film. Take The big short as another example. It also told a real-life tale, also honoured the victims and pointed out the guilty, and dealt with very serious subject matter to boot. It was a thrill ride from beginning to end, with larger-than-life characters and quirky interviews. It also broke down very complex information into totally understandable bits of information. The miniseries Chernobyl was slow-paced and rather heavy, but riveting to watch, even though you knew what the outcome would be. You still hoped it wouldn't be so. In other words, you can go various routes when telling a real-life tale: you can be funny, you can be serious, you can be quirky, if you are entertaining. Perhaps this is not director Todd Haynes's forte, the real-life tale told in a straightforward manner. The man has quite the Rotten Tomatoes CV. In between Far from heaven (2003) and Certain women (2016), there are quite a few fresh tomatoes thrown in. Let's face it, the fact that he did not win an Oscar for Carol was an affront to mankind. I cannot quite explain what went wrong with Dark waters. I mean, even Mark Ruffalo was rather bland in this. And when was Anne Hathaway relegated to playing a teeny-weeny part as the boring wife? The only interesting character was Bill Camp as Wilbur Tennant, and he doesn't feature a hell of a lot. It is a fascinating story of corporate greed and environmental disaster. I did not feel the outrage.
Karoo Films se Facebook-blad beskryf hulle eie film as "polsende aksie in ware 'Quentin Tarantino-styl' wat die kyker uitdaag". Kom ons vat Tarantino se eerste paar films as draaiboekskrywer en regisseur: Reservoir dogs, True romance, Pulp fiction en beide Kill Bills. Dit was grensverskuiwende skop-skiet-en-donder-flieks. Die geweld was uitsonderlik grafies, maar ook vars en komieklik met tye. (Die oor-afsny-toneel? James Gandolfini wat Patricia Arquette die loesing van 'n leeftyd gee en sy wat vir hom lag?) Die aksie was vinnig, verbysterend. (Uma het moeiteloos wraak geneem in daardie geel sweetpakkie.) Die humor was donker. (Harsings in Samuel L Jackson se hare? Daardie adrenalien-inspuiting in die hart.) Die karakters was kompleks - goed en sleg, sjarmant en walglik. (Wie het nie verlief geraak op Patricia Arquette as prostituut wat als waag vir ware liefde nie?) Tarantino het die snaakse, dog vervelige one-liners van aksiefilms vervang met skerp, snaakse en relevante dialoog. (Elke liewe debat tussen Travolta en Jackson in Pulp fiction.) Tarantino het ook die konsep van 'n filmklankbaan herontwerp en clichés uit die water uit geblaas. Sy films het hart en siel, maar is bowenal ongelooflik lekker vermaak. Kom ons kyk nou na Jagveld. Die geweld was vervelig. Onthou, kykers is deesdae gewoond aan baie meer grafiese/interessante/komiese geweld. Ons kyk True detective of Westworld saam met aandete en 'n glas wyn op 'n weeksaand. Moes dit skokkend gewees het oor die geweld in 'n Afrikaanse film gepleeg word? Moet ons nie beledig nie. Die aksie was louwarm. Ses ouens jaag 'n meisie deur 'n Karoo-landskap. Sy maai hulle af op meestal onoorspronklike maniere. (Die strykyster was wel lekker.) Ek was opgewonde oor die plaasimplement wat sy in gedagte gehad het vir Bouwer Bosch se karakter, en toe wys die film nie hoe sy dit gebruik nie. Leandie was fisies oortuigend wanneer sy oor drade spring of by berge opklim, maar wanneer dit kom by die bakleiery, het dit opgestel en geoefen gelyk. Die karakters was eendimensioneel en die toneelspel glad nie oortuigend nie. Ek het nie vir 'n oomblik geglo in die dwelmsmokkelaars se boosheid, in Tertius Meintjies se vaderlike liefde of in Emma se staal nie. Slegs Edwin van der Walt se Boela was uitsonderlik grillerig. Ek het Deon Meyer se komplekse, maltrap, maar uiters menslike karakters verwag. Die dialoog was nie skerp of vars nie. Bosman blaf bevele. Piet sê jammer. Emma gil of huil. (Sy hyg ook ontsettend baie.) Daar was tonele waar die karakters te veel praat en te min doen. (Baz snuffel deur Emma se kar en rapporteer elke liewe dingetjie oor die radio aan Bosman. Uiters vervelig.) Jagveld het nie veel vleis aan die been nie. Emma se pa was 'n recce. Hy het haar opgelei van ouderdom ses tot sestien. Ses dwelmsmokkelaars kom oor haar pad. Hulle sê les op. O, ja, haar ma is dood. Vergelyk dit met David Mackenzie se Hell or high water. Dit gaan oor twee uiteenlopende broers - die een sag en eerbaar, die ander rof en sonder gewete - wat tog uit broederliefde die rooftogte saam aanpak. Die vriendskap tussen die twee sheriffs, die een wit, die ander 'n Indiaan, sê soveel oor rasseverhoudinge. Die feit dat die broers net geld by 'n spesifieke bank roof en met daardie geld hulle lening by daardie selfde bank gaan afbetaal, lewer kommentaar op hoe die gemiddelde Amerikaner geknou is deur die eiendomskandaal in Amerika. (Kyk gerus The big short indien jy dit nog nie gedoen het nie.) Jagveld se storielyn is ook nie geloofwaardig nie. 'n Enkele verkeerskonstabel in die middel van nêrens gaan nie 'n kar aftrek om geen rede nie. As 'n tweede burgerlike kar dan boonop aftrek en hulp aan die polisieman aanbied, gaan die konstabel dadelik weet iets skort. Emma was te ver om werklik die skuldiges te kon identifiseer - hulle kon haar net laat spaander het en self padgegee het. As hulle haar dan móét agternasit, hoekom hardloop al ses ouens agter haar aan en los die kar vol dwelms alleen agter? Emma se kopskuif van onskuldige slagoffer na opgeleide soldaat sou gebeur het toe Boela haar die eerste keer wou aanrand. Die situasie was ondraaglik. (Een van die meer suksesvolle tonele in die film.) Die hele rugsak vol kampeertoerusting in haar kattebak is net te gerieflik. Haar aanvallers wat na die kattebak kyk en sommer weet sy het iets uitgehaal, is laf. Emma kry 'n paar keer ernstig pak slae, maar sy is blykbaar Bruce Willis in Unbreakable. As iemand jou gesig deur 'n glasdeur kletter, gaan jy 'n paar steke nodig hê. Die film is melodramaties - Emma se kopskuiftoneel byvoorbeeld. Die heen-en-weer tussen die bebloede mes, die nabyskoot van haar oë en die wye skoot van die dam was te dramaties vir woorde. Ek wou hardop sê: "We get the point." Hier is 'n belangrike oomblik. Sy ondergaan 'n gedaanteverwisseling. Laat dit oor aan Leandie om die moment te speel. Die hereniging tussen pa en dogter met die twee kreupel mense wat na mekaar toe hardloop, was ook een te veel. Boela se tantrum toe hy besef Emma het losgekom, was oordadig. So ook AJ wat omtrent drie keer naar word oor Boela se dood. Die lys gaan aan. Ek het die Engelse onderskrifte heeltemal geïgnoreer, omdat ek Afrikaans geniet. Ek het een keer per ongeluk afgekyk en gesien "Dit is wat sy verdien" is vertaal met "That is what she deserts." Eina. Opsommend: die grootste sondebokke is die powere draaiboek en die rigtinglose regie.