Displaying items by tag: Alden Ehrenreich

WEAPONS

US, 2025, 128 minutes, Colour.

Julia Garner, Josh Brolin, Amy Madigan, Cary Christopher, Benedict Wong, Austin Abrams, Alden Ehrenreich, Clayton Farris, Justin Long, Sarah Paxton,

Directed by Zach Cregger.

Weapons is quite a general title and audiences may be expecting to see a lot of firearms. However, the weapons this time are young children, 17 in a school class who suddenly disappear, running from their homes, in the early hours one morning. Only one does not disappear, Alex (Cary Christopher), who lives a lonely kind of existence. Where can this be going?

The film was written and directed by Zach Cregger whose previous film, Barbarian,   employedthe same pattern as here, establishing characters and situations, building up to the explicit horror. He certainly is able to create an atmosphere of mystery, often quite unsettling, the audience puzzled, looking for clues and indications and then, finally, a frighteningly overwhelming climax.

While we see the disappearance of the children, wondering where they could be, the structure of the film is in chapters, each with the name of a significant member of the cast, from Justine (Julia Garner), the initially hapless teacher of the disappeared children, blamed by the parents, branded as a witch, and not quite a steady personality. Then there is her relationship with Paul (Alden Ehrenreich), a rather callow policeman with the angry, neglected wife and pursuing a vagrant, James (Austin Abrams), addict, homeless, always ready to exploit situations. The other main characters are Marcus, the school principal (Benedict Wong), and Archer (Josh Brolin), a concerned parent whose son has been the principal bully to Alex.

And, the screenplay moves around in time, revealing characters, going back to situations, developing interconnections, which means that the audience has to be quite attentive.

And, at Alex’s house, more sinister revelations, the fate of Alex’s parents and the mysterious Aunt Gladys insinuating herself into the household, eliciting pity, but frightening people and the gradual revelation of who she is, her powers of control, the discovery of the children and a ferocious climax. Amy Madigan offers a powerfully alarming performance.

This may not appeal to audiences, of course, but it is a horror film worth considering, an involving plot, a range of flawed characters, the problems of a small town, school and teachers and parents, and eerie suggestions of horror which may or may not be possible in real life.

1. The arresting title? Audience puzzle? The later explanations, the possessed characters, their arms like wings, their attacks, violent destruction?
2. The Middle American town, atmosphere, homes, school, streets, police precincts, the countryside? The musical score?
3. The narration throughout, the voice of the schoolgirl, touch of the eerie?
4. The episode, the 17 children, visualised, running with their arms like wings, disappearing? All from the one class? Only Alex coming to school the next day? Justin’s class, her coming, the discussions with the principal, the reaction of the parents, her being blamed, the meetings and denunciations, the painting of “witch” on her car? The setting up of the atmosphere?
5. The writer-director and his previous film, the same pattern, establishing characters and situations, building up to the explicit horror?
6. The device of having chapters, the names of the principal characters? Focus on them, introducing other characters, flashbacks, the building up of the time and momentum, going back for the audience to see episodes from a different angle? And then the final sequences, in chronology, with explanations, visuals, and the introduction of the horror and gore aspects? The cumulative effect?
7. Justine, teacher, devoted to the children, yet past DUI, her drinking, at the bar, living alone, and nightmares, the relationship with Paul, deceiving his wife, drinking, going home with Justine, the sexual encounters, the aftermath? Justine recommended to be quiet, yet her following Alex, going to the house, looking in the windows, the people still, boarded-up? The vigil in the car, the mother cutting a look at her hair? Further encounters with Paul?
8. Paul, age, police, tense, drinking, his marriage, relations with his wife, deceiving her, her outbursts? His time with Justine? Tension, with the police chief, the discussions with him? The pursuit of James, vagrant, anger, his finger pierced, health worries, the discussions with his superior, keeping it quiet?
9. James, vagrant, asking for money from Justine, stealing, going to the pawnbroker, being chased by Paul, Paul pierced, his running away? Wandering, seeing Gladys in the field? His tent, the drugs? The rain, going to the house, getting inside, the mystery of the people, his apologies, steal the cutlery, going to the pawnbroker?
10. Archer, parent, his wife, his son seen in bullying Alex, his work on the building site, erratic, the confrontations with Justine, the injuries and the accident, their beginning to share concerns, his own investigating, his dreams, teaming up with her eventually, going to the house, getting inside?
11. Marcus, principal, ethics, strictures on Justine and her following Alex? With the parents? Time passing? At home, his relationship with Terry?
12. Alex, his age, at home, his relationship with his parents, happy relationship, driving with his father, dropping him at school, his mother at home, the prospect of aunt Gladys coming, preparing the house? His being bullied, especially by Matthew? Aunt Gladys and her arrival, his reaction, her behaviour in the house?
13. Aunt Gladys, appearing in the dreams, glimpsed by James? Her arrival, appearance, the make up, a witch, old and wizened, taking control of the family, her branches, has sticks, her rituals, pricking, the blood, on the branch, breaking it, the personal links with the victims, hair…? Her control in the house, paralysing Alex’s parents, his reaction to this, keeping them alive, feeding them the soup? Her dying, but being sustained by energies from the victims? Her encounter with Marcus, at school, bringing Alex’s father to the school, her coming to Marcus’s house, hypnotising him, controlling him, his live-in partner, and bashing him to death? Then his running through the town, like a weapon, to track down Justine?
14. James, taken by Paul, in the car, all in the house, his being controlled, bringing James into the house? The arrival of archer and Justine, all hypnotised? The confrontations within the house, archer hypnotised, Justine almost killed, her getting the gun, killing Paul, rescuing Alex?
15. The children, Archer’s search in the basement for his son, Gladys asking Alex to get personal emblems, the gymnasium, Justine, his taking them and chopping them to pieces? Their coming alive, pursuing her, the mayhem in the chase throughout all homes, smashing, the glass? And the descending on Gladys and destroying her?
16. The little girl in the narration, talking about the aftermath, Alex moving away, some gradual recovery for the children…?

FAIR PLAY

US, 2023, 113 minutes, Colour.

Phoebe Dynevor, Alden Ehrenreich, Eddie Marsan, Rich Sommer, Sebastian De Souza, Geraldine Sommerville.

Directed by Chloe Domont.

With a title like Fair Play, audiences will probably surmise that they will be seeing a lot of unfair play. They will not be wrong. Fair Play won awards at the Sundance Festival and was sold for a large sum to Netflix. And it was critically praised. After a short run in cinemas, it went to streaming.

First of all, the setting is in the world of American finance, the world of hedge funds, clients, the turnover of millions of dollars, successes, errors, losses, promotions and bonus, firing. Which, as a theme, maybe off-putting to audiences who observe this financial world with something of dismay.

And, secondly, the central characters are 30+ or -, ambitious, dedicated to this world of finance, on rungs up and down, and this will make quite an impact of audiences of 30+ or - who can identify with them. However, watching the relationship, observing the workplace struggles, the unfair play, older audiences might remember, on the one hand, or become impatient with the behaviour they are watching.

The central performances are very strong, Phoebe Dynevor (British actresses, especially in Bridget and) and American Alden Ehrenreich (Blue Jasmine, Hail, Caesar). While they work the same company, they have to keep the relationship quiet because of company regulations. At the opening, Luke proposes to Emily. At the end, there is a family party to celebrate the engagement – which is not what anyone was expecting.

Most of the action takes place in the offices of the company, Emily and Luke working together, under the eye of the demanding head of the company, Eddie Maas and in an unusual role. There are issues of promotion, favouritism, jewelry, resentments, efforts to impress, declarations of loyalty, bad suggestions, financial losses, shrewd compensations…

In the important part of the film is the theme of men and women in the workplace (the film written and directed by a woman, Chloe Dormont). What happens when women are promoted over men? What happens when women become part of the male hierarchy, drawn into share in their match oh conversation and jokes (what is usually referred to as locker room humour transferred to the board room and hotel dinners and drinking)?

These are the developments which lead into the relationship between Emilie and Luke, reminders of the Me Too # movement, themes of equality, repercussions of workplace competitiveness on the relationship, on sexual aspects of the relationship.

And, at the engagement party, engineered by Emily’s mother against her wishes, there is some surprising behaviour – and some shocking behaviour which leaves the audience, already unsettled by the themes, more unsettled as the final credits come up.

1. The title – and how much fair play in the behaviour of the characters? The situations? The world of high finance?
2. The New York settings, ambitious workers in finance, the workplace, offices, apartments, restaurants, celebrations? Atmosphere? Musical score?
3. The target audience, those at the age of the protagonists? Older audiences looking back, remembering, judging the behaviour of the younger generations? Resolutions?
4. The introduction to Emily and Luke, their knowing each other, going out together, living together, the apartment, the party, his proposal, her acceptance? The potential for the relationship? The role of equals in partnership, relationship, workplace?
5. The workplace, New York offices, finance, hedge companies, deals, research, negotiations, the boss, the hierarchy of officials? Emily and Luke within this context, and the secrecy of their relationship because of company policy?
6. The beginning of the complications, the firing of the assistant, the tough stances of the boss, the rumours, Emily hearing that Luke would be promoted, the celebration, the reality, Emily promoted?
7. The film dramatising issues of equality in the workplace, the role of women, promotion, equality of the sexes or not, sexual harassment and attention, the cell woman with the hierarchy, going out with them, the matcher comments on sexual innuendo, the jokes and stories, Emily and her choices, participating in these outings and conversations, drinking? The contrast with Luke, seeming to accept the situation, supporting Emily, but incipient feelings of resentment, difficulties at home, sexual reservations, research at work?
8. Emily, continued success, Campbell and his affirmation, the new clients, her explanations, her trying to support Luke, his advice, the losing of the millions of dollars, her shrewdness, taking a risk, doing the research, making the correct judgements, the financial rescue?
9. The effect on Luke, depression, at work, research, helping Emily, growing resentment?
10. Leo going into Campbell, on his knees, his declaration, his ambitions? Campbell and his disdain, his associates, firing Luke?
11. The background of the engagement, Luke not telling his parents, Emily with her mother, the phone calls, her mother’s insistence, telling Luke’s parents, the preparation for the party, the family all coming, the two resisting?
12. The climax of the party, Luke edgy, Emily upset, the parents and relatives in their behaviour, the argument, in public, going into the washroom, the confrontation, the sexual encounter, audience reaction to Luke’s behaviour, the rape, the aftermath?
13. Emily, taking a firm stand, the feminist and in the Me Too# era? Luke coming to the apartment, packing, his apologies, hesitant, Emily and her demands, his weeping and apology?
14. Audiences and their identifying with Emily, with Luke, the equality issues, mail-female issues, dominance of men in the workplace, the emergence of women? And the issue of sexual relationships,