Say Your Prayers


Just a couple of radical Christian assassins out for a drive.

(2020) Comedy (Gravitas) Harry Melling, Tom Brooke, Roger Allam, Derek Jacobi, Vinette Robinson, Anna Maxwell Martin, Flora Spencer-Longhurst, Matthew Steer, George Potts, Max Upton, Mike Baxandall, Cathy Baxandall, Tiffany Clare, Vivienne Race, Elliot Halidu, Dave Peel, Will Barton, Zach Webster, Jimmy Wilde, Louis Brogan, Helen Simmons, Emily Layton. Directed by Harry Mitchell

 

Sometimes when you read politicians and analysts speak, you’d think that the tribalism that affects modern society is something new but in fact humans have ALWAYS been tribal. If it wasn’t actual tribes, it was country versus country, city versus town, rural versus urban, one religion against another. We have always found reasons to hate The Other.

Tim (Melling) and Vic (Brooke) are two orphaned brothers, brought up by the somewhat obsessive Father Enoch (Jacobi). He has sent them on a mission – to murder noted atheist author Professor William Huxley (Allam), likely no relation to Aldous. He is speaking at a literary festival at a small village in Yorkshire, so he will be far from the safety of crowded city streets.

Tim is a gentle soul and somewhat simple and he bollocks it up by choosing someone (Barton) who looks similar to Professor Huxley – from behind, that is. Vic has anger issues and is much more gung-ho about the whole thing. When Father Enoch gets the word that an innocent man has been killed, he is more than a little miffed.

In the meantime, Tim has met and fallen for Imelda (Robinson), who unbeknownst to Tim has been carrying on a long-distance relationship with the Professor. Meanwhile, on the tail of the bumbling assassins is strident foul-mouthed Inspector Brough (Martin) and her friendlier, long-suffering partner Hodge (Spencer-Longhurst). With Father Enoch now insisting that the boys kill the Professor in a public way and Tim, who once was reluctant to take life until he met the royal arsehole that is Huxley, and Vic not the brightest bulbs in the chandelier, will righteousness triumph over self-righteousness?

This is a dark British comedy that skewers organized religion, zealotry (of every persuasion), TV cops and literary festivals all at once and has quite a lark doing it. One of the notable things is that Mitchell (who also co-wrote the movie) does is have a kind of Greek chorus following the boys around – except they are a British choral society of elderly men singing traditional British songs and hymns. They are actually quite lovely to hear and the incongruity of seeing immaculately dressed (in matching blazers) a choir of old men standing in the wilds of the Yorkshire moors is a running joke throughout the movie.

Melling has come a long way from Dudley Dursley, whom he played in the Harry Potter movies. There is nothing of the bully in Tim, who is gentle and simple, with a yearning to love. He is the tragic figure here as he is caught by events that he can’t escape from. He is more or less the straight man here, although he is the spindle around which the entire movie turns. Most of the other main characters (with the exceptions of Imelda and Hodge) are fairly unpleasant or even despicable but in the cases of Enoch and Huxley, are resolute and even passionate about their beliefs.

Allom and Jacobi are both old pros who know how to deliver and do so here, but Melling may well be a rising star with a little more range than some of his other Potter co-stars that have continued their careers in acting since Harry’s saga came to an end. He also has some decent comic chops, although the humor is largely situational here; there aren’t a lot of one-liners.

But the humor is superior to most of the other comedies I’ve seen thus far this year. If you like your comedies bone-dry with a bite, if you like your comedies to tackle big issues, this is the movie you seek, grasshopper.

REASONS TO SEE: Wickedly funny. Not so much a Greek chorus as a British one.
REASONS TO AVOID: May be a bit on the blasphemous side.
FAMILY VALUES: All sorts of profanity, violence and a scene of sexuality.
TRIVIAL PURSUIT: Scenes set in a television studio were actually filmed at the University of Bradford’s studio which is used for teaching aspiring broadcast students how to set up a set.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 4/8/21: Rotten Tomatoes: 100% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: The Estate
FINAL RATING: 7/10
NEXT:
Amber’s Descent

The Eclipse


The Eclipse

Iben Hjejele gets another awkward call from a psychic service while Ciaran Hinds tries to pretend he doesn’t notice

(2009) Romance (Magnolia) Ciaran Hinds, Iben Hjejle, Aidan Quinn, Jim Norton, Eanna Hardwicke, Hannah Lynch, Avian Egan, Mia Quinn, Billy Roche, Valerie Spelman, Jean Van Sinderen-Law, Hilary O’Shaughnessy, Declan Nash. Directed by Conor McPherson

 

Grief is one of the most powerful of human emotions. It can affect us physically, turn us into basket cases emotionally and mentally. We all deal with it in different ways and sometimes it overwhelms us, no matter how well-balanced we might be normally. We never know how we’ll react until it becomes our time to grieve.

It is Michael Farr’s (Hinds) time to grieve. A gentle good-natured shop teacher in a small but bucolic Irish village, his wife Sarah (Lynch) passed away from cancer two years previously. Now he is struggling to raise their two sons alone. As if that weren’t enough, his father-in-law Thomas (Hardwicke) is also dying in a nursing home. Michael does his best to be attentive but his time is limited.

That’s because it’s also time for the town’s literary festival, one of the highlights of their year. Michael has volunteered to ferry various authors around the village for the length of the festival, becoming something of a personal assistant to them. His main charge is Lena Morrell (Hjejle), a noted author of supernatural tales. That’s a godsend to Michael because he’s begun to have some supernatural visitations of his own, not only from his dead wife but from his father-in-law as well.

Lena has some ghosts of her own, mainly in the form of Nicholas Holden (Quinn), a bestselling American author who is, to put it bluntly, a drunken jackass. He had a fling with Lena at a similar literary conference a few years ago and ever since has been something of a stalker, feeling that there is a relationship between them. For her own part, Lena views it as a mistake she made but is too nice to tell the married Nicholas to go take a long walk off a short pier which is probably a lot nicer than Nicholas deserves.

She has begun to grow attracted to the quiet, grief-stricken Irishman who shows her kindness and respect. Nicholas has noticed this and has grown rather jealous. And the apparitions that are haunting Michael are growing more and more disturbing and threatening by the day.

This isn’t a movie that follows conventions. Yes, it tells a story but not the way you might be used to. There are things that happen, there is a beginning and a middle but the end is not so much a denouement as it is a stopping point. And I kind of like it that way. It unfolds at a pace that is its own, on the slow side for those ADHD sorts that make up most of the movie audience these days. It will drive them absolutely batshit.

And because of that, they’ll miss a performance by Hinds that shows why he is so in demand as a character actor. He has the kind of talent to carry a movie on his own as he does here – he just doesn’t have the dashing lead actor kind of face and build. These sorts of generalizations tend to make Hollywood look for stories that only happen to good-looking people, ignoring the ordinary and the less beautiful. Maybe that’s why those in the indie community feel that mainstream Hollywood is so out of touch.

Musing aside, Quinn also gives a damn good performance (and yes, he’s one of the pretty boys Hollywood usually goes for). It’s not a pleasant character and Quinn doesn’t pull any punches (literally) with him. There’s a drunken brawl Nicholas gets into that is note-perfect; it’s not two fighters facing off but two men whaling away on each other. They both grunt like walruses as they launch haymakers and miss. It’s a pretty realistic fight, the sort you really see in pubs and bars.

There’s also the romance with Hjejle, who is kind of caught up in a triangle. It’s not the usual love triangle; she clearly isn’t in love with either man, although she could potentially fall for Michael; it’s just that they live in two completely different and separate worlds. There’s an unspoken element of tragedy – that familiar tragedy we all undergo at some point in our lives when we meet someone we want to love but is completely wrong for us.

That said, there’s the elements of horror that grow in scope as the movie develops; from simple half-glimpsed figures to rotting corpses. I don’t quite know what to make of it; part of me wants to think that it’s more symbolic than anything else. I don’t think Michael is having a nervous breakdown although that’s certainly one interpretation. Still, it remains unsettling and keeps the audience off-balance which in and of itself isn’t necessarily a negative.

Where the movie fails is that it shows a good deal of passion – Michael’s grief, Nicholas’ obsession with Lena – but didn’t inspire any in me. I suspect I will like this movie more as time goes by, particularly if I choose to see it a second time which at this point is problematic. Still, it did at least bring about some intellectual stimulation which is more than a lot of films that purport to do. I’ll say see it, but only if you’re in the mood for thoughtfulness.

WHY RENT THIS: Strong performances by Hinds and Quinn. Not conventionally told; keeps the audience off-balance throughout.

WHY RENT SOMETHING ELSE: Occasionally slow-paced. Fails to generate much more than intellectual curiosity.

FAMILY VALUES: As befits a story with supernatural elements there are some images that might be frightening, particularly to the sensitive. There is also a smattering of bad language.

TRIVIAL PURSUIT: The movie was filmed in the village of Cobh in County Cork.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $159,852 on a $3M production budget; the film failed to make back its production costs at the box office.

COMPARISON SHOPPING: Who’s Afraid of Virginia Woolf?

FINAL RATING: 5.5/10

NEXT: What to Expect When You’re Expecting