Tag Archives: Matthias Schoenaerts

The Old Guard

17 Jul

The Old Guard’: Superheroes, after a fashion, who don’t quite pull off a mission to franchise

By Tom Meek

A fairly one-note pseudo-superhero flick, “The Old Guard” gets much of its occasional heartbeat from its irrepressible star, Charlize Theron, and some of the cast surrounding her. There’s no Lycra, X-ray eyes or bulging muscles here, just a quartet of immortals who form something of a special ops force that’s been doing missions together across the centuries. Two of the four (Marwan Kenzari and Luca Marinelli) fought against each other during the Crusades, though they’re an item in contemporary times.

When asked, “Are you good guys or bad guys?” Theron’s Andy (Andromache of Scythia, in days of yore) responds, “It depends on the century.” In this century, what’s to know? The team’s looking for new blood, while the mad big pharma head (Harry Melling, who played Dudley Dursley in the “Harry Potter” films) wants to bottle the immortals and sell their essence on the market. Andy tracks down the newbie Nile (KiKi Layne, “If Beale Street Could Talk”) who’s just out of the military, giving her the heads up about her gifts and attempting to recruit her – which essentially comes down to a battle aboard a bouncy cargo plane. The real call to arms comes when Melling’s Merrick kidnaps those Crusade rivals turned lovers, Joe (Kenzari) and Nicky (Marinelli) and Andy turns to Nile and old ally Booker (Matthias Schoenaerts, his face etched with melancholy) to help free the lads.

Caught up in the emotionally inert mix is Chiwetel Ejiofor as CIA handler and X-factor. He was nominated for an Academy Award (“12 Years a Slave”) and Theron won one, but with the exception of them and Schoenaerts everyone in the film feels stiff, like they’re just waiting for the next smackdown to take place. Theron’s so good in all she’s done (“Long Shot,” and “Monster,” for which she won that gold statue) and looks lithe and purposeful sporting a short dark bob that accentuates her angular jaw and twinkling eyes; the fight scenes too are choreographed brilliantly – but if you want a real drink of Theron kicking ass, go with “Mad Max: Fury Road” (2015) or “Atomic Blonde” (2017). The film’s also a letdown because director Gina Prince-Bythewood showed such promise with a soulful debut “Love and Basketball” (2000) that plumbed the romantic relationship between two ballers over the years. Here it’s a by-the-numbers execution with few surprises. Sure it’s great to watch Theron thrown down or see one of the immortals fall out a 10-story window and, like Hugh Jackman’s Wolverine, slowly pull their broken pieces together and painfully regenerate. What hurts here is that this aims to be a cornerstone of a franchise. I think I can wait another century for the next installment.

The Mustang

28 Mar

‘The Mustang’: Breaking horses as prison task builds powerfully for quiet man in a quiet film

 

Image result for the mustang movie

If “The Mustang” feels like something of a redux of “The Rider,” it is, especially if you consider the nucleus of a man trying to heal through bonding with a beast and the raw beauty of the tumbleweed-dusted valleys and plains that fill the screen. Both films deal with broken men. In the case of “The Rider,” Chloé Zhao’s beautiful second feature, it was physical as well as emotional, as a brain-injured horseman confronted the near certain risk of death should he mount a steed again. In the case of “The Mustang,” there are deeper and darker elements, namely that it’s set inside the razor-wired confines of a maximum security correctional facility in Nevada.

The broken man here is Roman Coleman (Matthias Schoenaerts), a transfer tossed immediately in solitary confinement because of an outburst at an anger management counselor (Connie Britton).Not a good start, but Roman’s mostly a quiet, keep-to-himself kind of guy (“I’m not good with people,” he remarks). You can tell there’s simmering rage and demons inside, yet also vulnerability and compassion in those perpetually narrowed eyes. Once out of the box, Roman is assigned to shit duty – literally. The prison, because of its location in the heart of wild mustang country, runs a program to break the bucking beasts and sell them at auction – ironically, mostly to the police. For some reason, and we’re not entirely told why, Myles (Bruce Dern) the old codger who runs the equestrian side of the prison, sees something in the way Roman scoops up manure and mandates him into the program.

The horse-whispering is pretty neat and drives the film as expected, but it’s Roman’s bond with a fellow inmate, Henry (Jason Mitchell),and visits from his pregnant daughter, Martha (Gideon Adlon), who harbors justified animosity for her father, that cast a longer shadow. Issues of racial division are clearly etched in the yard, and there’s an illicit drug trade that threatens to drag in Roman.

Thankfully nothing about “The Mustang” is heavy handed; Laure de Clermont-Tonnerre has composed a quietly powerful portrait for her first feature, with a script so spare you almost wished people expressed themselves a bit more. Her real ace in the hole, besides the majestic beast that bucks its stall viciously (it too, gets tossed in solitary) is Schoenaerts, best known for his role as a Russian baddie in the silly and misguided J-Law spy thriller “Red Sparrow” (2018), but delivering a breakout performance here. With a shaved head and dewy eyes, he looks something like a mini-me version of Dwayne “The Rock” Johnson, and casts a presence that is at once intimidating and resilient while remaining soulful and pained, imbued with the rue of past actions. It’s a film-winning performance that’s aided just the slightest by prodding barbs from Dern’s cantankerous mentor, the warning snorts from the mercurial steed and mostly, the cagey, sassy baiting from Mitchell’s hands-on, horse-wrangling instructor.The casting and arc of emotion couldn’t be more perfect, and the final frame will surely break you.