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By midlandsmovies, May 26 2019 03:37PM



A Private War (2018) Dir. Matthew Heineman

This new biographical drama comes from Matthew Heineman and is his first dramatic movie after his success with 2017’s documentary City of Ghosts about anonymous activists in Syria as it was taken over by ISIS. Staying with similar subject matter, A Private War follows the real and recent war story of American journalist Marie Colvin. Colvin is played brilliantly and with depth by Rosamund Pike, who captures Colvin’s determination to uncover stories in the most dangerous of war zones. Losing an eye in Sri Lanka whilst documenting the country’s civil war, Pike wears an eye-patch but her ability to see, and uncover, a story is not diminished. Her mental stability is diminished however as post-traumatic stress, alcoholism and broken relationships begin to take their toll. Her anguish doesn’t stop her continuing her desire to expose the evils of the world as she crosses the globe.


Jamie Dornan is solid as her photographer Paul Conroy, whom she recruits to document the stories, whilst she consistently antagonises her boss Sean Ryan (a rather sympathetic Tom Hollander as The Sunday Times' foreign editor) in her search for tortuous truths. The film uses a countdown technique as we are shown various war zones from 2001 to the more recent battle of Homs. Some subtly impressive recreations of war zones, realistic shooting locations and the dramatic back-and-forths back in London all add to the realism. But it’s the central performance of a woman torn between the truth and the terror that is the real praiseworthy aspect. Pike gives her best performance since Gone Girl and brings to life the tragic story of Colvin and her demons. An impressive debut feature, Heineman delivers a whole host of remarkable technical aspects and Pike’s exciting central performance makes A Private War a dramatic and satisfying movie covering global conflicts and personal battles. ★★★★





Arctic (2019) Dir. Joe Penna

Mads Mikkelsen stars as Overgård, a stranded man who is trying to stay alive after his plane crashed in the snowy tundra of the arctic wasteland. As he fishes for food to stay alive, he carves out S.O.S in the snow whilst trying to map his bleak and (almost) inhospitable surroundings. Filmed in Iceland, the great cinematography from Tómas Örn Tómasson captures frozen vistas, landscapes and the snow-peaked mountains and it’s this beauty that contrasts with Mikkelsen’s desperation to survive. As a rescue helicopter spots him, it gets caught in a storm and crash lands itself with only a young woman (Maria Thelma Smáradóttir) surviving but severely injured. The wreckage contains a map and Overgård discovers a lodge that is 2-days away so decides to secure the woman to a sledge and head out into the wilderness. Filmed almost entirely without dialogue, Mikkelsen is excellent portraying a man in a precarious and pressured situation but understanding that a clear head and logical thinking is the only way to survive. Fighting the elements and himself, and overcome with emotion at times, “mute” Mads has done a similar non-speaking turn in Valhalla Rising but this is far the superior film. With elements of Alive and The Martian as Mads faces risky dangers, Arctic ends up being a well-crafted 90-minute survival flick that is simple yet emotional, and life-affirming without being overly fussy. ★★★½



Shazam! (2019) Dir. David F. Sandberg

From the director who brought sub-par horrors Lights Out and Annabelle: Creation to the big screen, it’s incredibly surprising – in a good way – to see the fright fan tackle a child-friendly family blockbuster in the much-maligned DC Extended Universe. How this fits in with the tone of Batman Vs Superman and Suicide Squad is anybody’s guess - heads up, it doesn’t - but that’s a huge bonus for a film with low expectations to fulfil. In short, what we get is a tearaway, Billy Batson (played by Asher Angel) who gets placed in foster care but is given a magical power by a wizard (!) that can transform him into an adult superhero. As the man-version, Zachary Levi does a great job a la Tom Hanks in Big (and to a lesser extent Judge Reinhold in Vice Versa). Mark Strong as the villain simply dusts off his Kick Ass persona and although as bland as they come, has an interesting power that sees the “7 Sins” demons emanating from his body to attack. Some cornball family themes are expectedly delivered but mostly inoffensive, yet as Billy learns to use his super speed and strength – and how to take responsibility for his powers – the film gets by with a lot of heart and plenty of laughs. And for the first time (since Wonder Woman I guess), a DC comic book movie is finally fun, has a great tongue-in-cheek tone and some actually likeable and relatable characters. Shazam is a super success! ★★★ ½



Greta (2019) Dir. Neil Jordan

What happened between 1991-1992 that filmmakers seemed to make every thriller about stalking? Cape Fear (1991), Single White Female (1992), The Hand that Rocks the Cradle (1992), Sleeping with the Enemy (1991), Basic Instinct (1992) and Unlawful Entry (1992) are amongst a host of dramas where obsessed individuals terrorise their victims in a variety of dark and unique ways. And with Greta, we’re thrust back into that world with Neil Jordan’s latest psychological drama. Chloë Grace Moretz plays Frances, a waitress in New York who returns a lost purse to its owner (Isabelle Huppert as Greta Hideg) and becomes close with the lonely piano-playing widow. However, before you can say “bunny boiler”, Huppert’s Greta is calling, texting and eventually stalking Frances and her flat mate. Moving from a nuisance to full-on disturbingly obsessed, Huppert is having a lot of fun as the lurker and she gives gravitas to a pantomime role – similar to SIr Anthony Hopkins in Silence of the Lambs, itself a 1991 release! It nails the knowing (and at times silly) tone of those 90s thrillers and at 98 minutes it doesn’t stay around too long for audiences to question all its holes, nonsensical narrative strands and ludicrousness. However, for those who are missing the glory days of crime, betrayal and emotional nut-bags – and no, it doesn’t treat psychological disorders with anything close to seriousness – then Greta is a guilty, if slight, return to the clichéd, outrageous, preposterous - but often highly entertaining - suspense genre from 30 years ago. ★★★ ½


Michael Sales


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