Showing posts with label Jeremy Irons. Show all posts
Showing posts with label Jeremy Irons. Show all posts

Friday, February 15, 2013

Beautiful Creatures (2013)


Beautiful Creatures
Directed by Richard LaGravenese
Starring: Alden Ehrenreich, Alice Englert, Jeremy Irons, Viola Davis, Emma Thompson, Emmy Rossum, Dame Eileen Atkins, Margo Martindale
Grade: B

What is being billed as a potential new franchise aimed primarily at teen audiences – in the vein of “The Hunger Games” or “Twilight” – “Beautiful Creatures,” adapted from a novel by Kami Garcia, shows no signs of limiting itself to romantic young minds.  While this story of love and magic will likely appeal to a target demographic, surrounding the young central couple of Ehrenreich and Englert with a host of reputable actors, from Viola Davis to Dame Eileen Atkins, ensures that the film is more accessible to an older audience. Of course, it helps that LaGravenese’s deft script gives these actors so much to do, the dynamic between the spell-casting members of the mysterious Ravenwood family fascinatingly volatile, Jeremy Irons and Emma Thompson’s bristling standoff in a church allowing both actors to flex their acting muscle in ways we haven’t seen in a while, and Emmy Rossum an electric presence as the film's catty villain.

As the young lead of the film, Ehrenreich exerts such charm and charisma, elitist in the way that he observes the narrow-minded members of his small town, itching for an alien form of excitement he gratefully receives. He and Englert have a winning chemistry together, and it’s somewhat of a relief that the strength of their romance isn’t diluted by the overkill of the obstacles and constraints which come between them. Nevertheless, “Beautiful Creatures” has its problems: An excellent first hour is undone by some convoluted plot twists in the second, and its finale strangely appears to betray the already-established mechanics of its world. But once it has you in its stranglehold “Beautiful Creatures” won’t let go, beautifully nostalgic with its horror elements and lovingly new-age in its impression of star-crossed lovers separated by supernature. 

Wednesday, April 28, 2010

Reversal of Fortune (1990)

Directed by Barbet Schroeder
Starring: Jeremy Irons, Ron Silver, Glenn Close
Grade: C+

Reversal of Fortune begins with the facetious introduction you're more accustomed to hearing on an episode of Desperate Housewives. Glenn Close, as troubled braindead corpse Sunny Von Bulow, provides an immediate voice-over narration from all-but-beyond-the-grave, casually outlining her husband Claus's subsequent arrest for her murder, while at the same time remaining maddeningly coy about whether Mr. Von Bulow is guilty or not. It's no real spoiler to divulge that the film never reaches a concrete conclusion about this - admirably, it can be argued - but in walking a non-committal line Barbet Schroeder's film quickly opts for an easy way out.

That "way out" is Jeremy Irons, given license to colour the accused Claus's ubiquitous self-satisfaction with shades of mystery (a freedom he guzzles as rapturously as his character does champagne), and singularly responsible for shifting perceptions of Von Bulow's gainly mechanics and bone-dry humour. The uproarious Irons allays the menace and revelry enough to allude to the man's use of wit and façade as a defence mechanism, somewhat justifying the sanguine attitude towards his wife's death and the impending threat of lifelong imprisonment by playing up to his status as an hermetic media villain. This role also won Irons an Oscar at his first and only attempt.

The decision of Schroeder et. al to let Irons have the floor could therefore be seen as a wise one, were the attempts to back up character analysis with investigative intricacy more substantative. Employed to take on the defence case is lawyer Alan Dershowitz (Ron Silver), whose vocation is now based more in the world of academia than the courtroom. The cynical Prof. Dershowitz recruits his students to help him analyse the demise of Mrs. Claus - a case which mostly comprises of medical deficiencies and unambitious timing issues popular with hour-long TV crime drama's. Moreover, the very nature of Reversal of Fortune's analytical strand appears to stretch Von Bulow's humility to questionable lengths. A risk-taking debonair he may be, but enough ingrained in the class system to entrust his case to more cunning, reputable practicioners than Dershowitz and his merry men.

So no, I'm pretty sure that Schroeder makes a dire mistake in heaping all of his eggs into one basket, bound by component Irons and his slow-burning genius, to the point where his tour-de-force renders the film's flashbacks redundant. Pre-occupied with maintaining a stolid median, the interspersed scenes between Mr. and Mrs. Von Bulow feel tentatively reluctant to reveal much about either their relationship or the tragic events that ended it. Instead, I suspect that the story plays as it was actually born, and that watching Von Bulow's feather-ruffling was enough to deem an altogether tedious non-event worthy of adaptation.

Something that feels particularly poorly thought-out is the title. It would have been interesting to have experienced and witnessed the reaction to Reversal of Fortune, a film that teeters but never veers enough to reach obtuse angles, never mind a one-hundred-and-eighty degree swing. And thus, there we have it; a movie one man cannot conquer. He can, however, electrify a film that never quite reaches the courage of Claus Von Bulow himself, and for that the titular fortune, while not gold, is glittering, majestic Irons.