Tag Archives: Ben Kingsley

All Hail the King (2014, Drew Pearce)

It's too bad All Hail the King wasn't the epilogue to Iron Man 3. It's a continuation of Ben Kingsley's story from that film and it's the best thing out of Marvel. At fourteen minutes.

Writer-director Drew Pearce only has three scenes in the film–he uses a montage opening to establish, so maybe three and a half. He gives Kingsley a bunch of great lines and a fantastic plot. It eventually follows up on elements from all three Iron Man movies. It's a humorous wink at the idea of dropped subplots and forgotten supporting characters.

In addition to the dialogue and the acting–Scoot McNairy and Lester Speight are also great–Pearce's direction is outstanding. He has numerous jokes throughout, often letting them develop from a dramatic situation. That approach works perfectly with Kingsley's British stage boob.

While it's a showcase for Kingsley, it's equally one for Pearce. King is near perfect.

3/3Highly Recommended

CREDITS

Written and directed by Drew Pearce; director of photography, Michael Bonvillain; edited by Dan Lebental; music by Brian Tyler; production designer, Shepherd Frankel; produced by Kevin Feige; released by Disney Home Video.

Starring Ben Kingsley (Trevor Slattery), Scoot McNairy (Jackson Norris), Lester Speight (Herman), Sam Rockwell (Justin Hammer), Matt Gerald (White Power Dave), Allen Maldonado (Fletcher Heggs) and Crystal the Monkey (Bar Monkey).


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Without a Clue (1988, Thom E. Eberhardt)

Without a Clue has an amusing premise–what if Sherlock Holmes is a buffoon and Dr. Watson is the genius–and generally succeeds in executing it. Director Eberhardt brings very little to the film (one wonders if his single goal was keeping Michael Caine in the center of each frame), but the production is handsomely enough mounted, even if there is a lack of scope. Most of the film’s action takes place indoors, where Eberhardt goes for cheap laughs. Outdoors, at least, Alan Hume’s cinematography gets to breath.

Caine is hilarious as Holmes, but he’s nothing compared to Ben Kingsley as Watson. Kingsley brings intelligence, suffering and sympathy to the role, while still maintaining a commanding lead presence. Unfortunately–except for Peter Cook in a bit part and Nigel Davenport in a slightly bigger one–the rest of the cast has little to offer.

That problem is two fold. The script gives the supporting players, except Pat Keen, almost nothing to do. Watching third-billed Jeffrey Jones run about is painful, especially since his comic scenes are so poorly written and Jones loses his forced accent explicitly during his comic scenes. Lysette Anthony is mostly useless as the damsel in distress, though she does some quality; it seems Clue failed her.

Henry Mancini’s score is a lot of fun for the period; Mancini excels at the comedy scenes. He doesn’t do so well for the action-packed finale, but neither does Eberhardt so no foul.

Clue‘s a lot of fun.

2/4★★

CREDITS

Directed by Thom E. Eberhardt; written by Gary Murphy and Larry Strawther, based on characters created by Arthur Conan Doyle; director of photography, Alan Hume; edited by Peter Tanner; music by Henry Mancini; production designer, Brian Ackland-Snow; produced by Marc Stirdivant; released by Orion Pictures.

Starring Michael Caine (Sherlock Holmes), Ben Kingsley (Dr. John Watson), Jeffrey Jones (Inspector Lestrade), Lysette Anthony (Leslie Giles), Paul Freeman (Professor James Moriarty), Nigel Davenport (Lord Smithwick), Pat Keen (Mrs. Hudson), Peter Cook (Norman Greenhough), Tim Killick (Sebastian Moran) and Matthew Savage (Wiggins).


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Iron Man 3 (2013, Shane Black)

Iron Man 3 feels a lot like the end of the series, which isn’t a bad thing–Robert Downey Jr. does the hero’s journey thing quite well–but director Black handles it oddly. After spending the entire movie pairing Downey with buddies, whether love interest Gwyneth Paltrow, sidekicks Don Cheadle and Jon Favreau, his computer and even an adorable little kid, Downey finishes the movie by himself.

But he’s just learned he can’t get by without a little help from his friends.

Anyway, it’s a stumble after an incredibly entertaining couple hours. Even when the film’s being serious–and sometimes even frightening (the villains are quite good)–it’s always a lot of fun. Downey and Paltrow are wonderful together, as usual, and Black never lets it get too somber. The end credits are self-congratulatory in the best way (if playing into the series finale thing a little much).

Cheadle doesn’t have a lot to do–Iron Man 3 could be a lot longer; more movie would plug most of its plot holes (besides Downey going from experienced marksman to novice in twenty minutes)–but he’s good. Ditto for Rebecca Hall as an ex-girlfriend. She and Paltrow get nowhere near enough time together.

The big surprises are Ben Kingsley as the supervillain and Guy Pearce as a business rival. Kingsley’s excellent, but Pearce’s spellbinding. He walks off with the movie. He alone makes it worth seeing.

The only real bad spot is Brian Tyler’s crappy score.

Otherwise, it rocks.

2.5/4★★½

CREDITS

Directed by Shane Black; screenplay by Drew Pearce and Black, based on the Marvel Comics character created by Stan Lee, Larry Lieber, Don Heck and Jack Kirby; director of photography, John Toll; edited by Peter S. Elliot and Jeffrey Ford; music by Brian Tyler; production designer, Bill Brzeski; produced by Kevin Feige; released by Walt Disney Studios.

Starring Robert Downey Jr. (Tony Stark), Gwyneth Paltrow (Pepper Potts), Don Cheadle (Colonel James Rhodes), Guy Pearce (Aldrich Killian), Rebecca Hall (Maya Hansen), Jon Favreau (Happy Hogan), James Badge Dale (Savin), William Sadler (President Ellis), Ty Simpkins (Harley Keener), Miguel Ferrer (Vice President Rodriguez) and Ben Kingsley (The Mandarin).


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Interview with a Hitman (2012, Perry Bhandal)

It feels like whole parts of Interview with a Hitman are missing. A major supporting character will be revealed in the present action, grown up from a little kid in one scene in the flashback. There’s probably a good ten minutes of exposition missing from the picture.

It might explain why, when it’s not full of bad dialogue, Hitman is such a beautifully made film. Director Bhandal can’t write dialogue whatsoever (he also doesn’t even know when he’s got half a good scene–he just goes on and runs it with more talking), but the plot sometimes feels like After Hours with a hitman. Great music from Dan Teicher, just phenomenal. Hitman works best when there’s no talking, just Teicher’s music, Ben King and Harry Skipp’s sublime editing and Richard Swingle’s lovely photography. It’s like Bhandal realized, in post, he couldn’t tell his story straightforward because of the writing and acting fails, so he let it at least partially succeed through exceptional work from his crew.

Luke Goss plays the lead as an adult and he’s middling. He’s good when he doesn’t have any lines. He’s particularly bad during the terribly written narration. Still, he’s leagues ahead of Elliot Greene, who plays the same character as a child. Greene’s terrible.

Caroline Tillette’s good as Goss’s love interest, Danny Midwinter’s all right, Philip Whitchurch is good.

The obvious finish fails some of the actors’ good work and there’s a lot terrible about it. But there’s a lot good about Hitman too.

0/4ⓏⒺⓇⓄ

CREDITS

Written and directed by Perry Bhandal; director of photography, Richard Swingle; edited by Harry Skipp and Ben King; music by Ben Teicher; production designer, Mickaela Trodden; produced by Dean Fisher; released by Kaleidoscope Film Distribution.

Starring Luke Goss (Viktor), Caroline Tillette (Bethesda), Stephen Marcus (Traffikant), Danny Midwinter (Sergei), Philip Whitchurch (Tosca), Patrick Lyster (Xavier), Ray Panthaki (Franco), Uriel Emil Pollack (Alexandru) and Elliot Greene (Young Viktor).


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