Displaying items by tag: Benicio del Toro

ONE BATTLE AFTER ANOTHER

US, 2025, 161 minutes, Colour.

Leonardo DiCaprio, Sean Penn, Benicia del Toro, Teyana Taylor, Regina Hall, Chase Infiniti, Tony Goldwyn, James Downey, John Hoogenakkerr, Kevin Tighe, D.W.Moffat.

Directed by Paul Thomas Anderson.

An American movie with quite some frightening impact – even though there are many, many comic moments throughout. It has been written and directed by Paul Thomas Anderson who has had a significant 30 year career, many feature films and great number of music videos. For this reviewer, Magnolia and The Master stand out as well as the menacing There Will be Blood.

Anderson has said that he was interested in Thomas Pynchon’s 1984 novel for many years, seeing it as something of a futuristic vision of a disturbed United States, revolutionaries, status quo, clashes and violence… He has taken the novel as a starting point for a 21^st-century futuristic look at this kind of United States. Filming was completed by 2024 but by its release in mid 2025, it does not seem futuristic so much as a satiric imagination of Donald Trump’s America, no longer futuristic, the present. (And it will be interesting to look back on this film when the second Trump presidency ends.)

The opening is quite disturbing, intense revolutionaries, of the left, protests and sabotage down at the Mexican border, the freeing of imprisoned migrants and refugees. More than topical. And then there is the military, the revolutionaries battling the soldiers. The key revolutionary is Perfidia, played by an intense Teyana Taylor. And her comrade is explosives manager, Pat, Leonardo DiCaprio. There is an intense power and sexual struggle between Perfidia and the symbolically named soldier Lockjaw, one of Sean Penn’s best performances. The revolutionaries are shown in a collage of all kinds of explosive protests but, no spoilers, they are dramatically taken down – with unforeseen circumstances and consequences.

However, the action suddenly moves on 16 years, Pat is living with perfidious daughter, Willa, Chase Infiniti, popular at school, Pat changing his name to Bob, tough with his daughter but the consequences of drink and drugs hovering. Long story short, his daughter is taken by the military for interrogation, and Bob has to go on the run, making contact (in an exaggeratedly funny sequence where the bureaucratic revolutionary on the other end of the phone won’t accept that Bob over the years has forgotten aspects of the recognition code), making contact with Willa’s martial arts teacher, Benicia del Toro, and all kinds of action adventures on the way to the hippy convent where she has taken refuge.

Colonel Lockjaw has come up through the ranks and is being offered the opportunity to join one of those secret societies of ageing white men, the Christmas Adventurers!. A lot of satire as we sit in on meetings of the committee. But, they have the power, influence the politicians, pride themselves on racial purity… And Col lockjaw suddenly presents a problem because of his past association with Perfidia.

So, definitely one battle after another, and abuild up to quite an exciting climax with cars speeding along the highway, Willa, Bob, pursued by the elite club hitman, an extraordinary photography of highways through the desert which continuously undulate almost like a rollercoaster ride mounting to a literally smashing finale.

Somebody has noted that Steven Spielberg has seen the film several times – which does indicate that for those who found it impressive on first viewing, it would probably be even more impact the second or the third time round.

1. This film in the career of Paul Thomas Anderson? Critical acclaim? Popular response?
2. The inspiration from the novel, Vineyard, by Thomas Pynchon? The novel from 1984, Anderson developing ideas with the novel as a starting point, for the 21^st-century?
3. The scope of the film, revolutionary groups in the United States, race issues, the Mexican border, sheltering of refugees and migrants? The authorities, the role of the military and the police, increasing authoritarianism? Background of wealthy white older men and secrecy and conspiracies, elitism? Characters within this society?
4. The locations, the range of locations in California, from the forests and woods of the North, to the coastlines of the desert scenery of the South, urban El Paso?
5. The range of music, different moods, the range of songs included, lyrics? And the climactic music of road chase and the undulating terrain and tarmac, rollercoaster-like?
6. The strong cast and performances?
7. The impact of the first part of the film, France 75 and the revolutionary code and behaviour, the introduction to Perfidia, walking along the road, arrogant, in charge, Pat and his explosives, the other members of the group, the American-Mexican border, the infiltration, overcoming the troops, the confrontation with Lockjaw, her taunting him, sexually, overcoming him? The migrants and refugees, the achievement of the mission? Explosions and mayhem?
8. The members of the group, Deandra being more sympathetic, the other women? The collage of the various raids and the spectacular success, explosions, robbing banks…?
9. Perfidia, planting the bomb, Lockjaw and his intelligence, tracking her down, the confrontation, the sexual encounter, his letting her go? His threats, imprisonment, his persuading her to give names and locations, tracking down the various members, action, flights, arrests? Her escape from Lockjaw, but considered a rat by the revolutionaries?
10. Perfidia, pregnant, still acting independently, shooting ranges, going out, giving birth, the relationship with Pat, becoming the father, tending the child, the disappearance?
11. 16 years later, the child, Charlene, now called Willa, cared for by Pat, his name now Bob? At home, the style of the house, his background of drugs, the codes, the machines, his being apprehensive? Her character, independent, going to school, the martial arts classes, Sergio, the dance, the friends coming to the house, the transitional student, pronouns, they? Bob and his reaction, his treatment of Bluto and the others, her defiance? Going to the dance, the visuals of the dance?
12. Leonardo DiCaprio as Bob, addict, protective, the crisis, his friend arrested, his having to flee, trying to contact Willar, getting the help of Sergio, his shop, his contacts, the refugees, the safe house, getting them out of the house, Bob trying to make contact, not remembering the date with the code, the exasperation with the official at the end of the phone, talking to his friend, persuading him to reprimand the contact and his apology? Bob, escaping, leaping over the roofs, falling, tasered, arrested, interrogated, the contacts with the revolutionaries, his escape?
13. Lockjaw, Sean Penn’s intense impersonation of the rigid military man, Perfidia seeing him, overcome by Perfidia, the sexual taunting, his humiliation, his finding her, the sexual encounter, the birth of the child, his tracking her down, arresting her, the interrogation, her giving him the names, the disappearance to Mexico, his rising through the ranks?
14. 16 years later, his quest for his daughter, the invitation to join the Christmas Adventurers’ club, various members of the club, white, older, middle-aged, power, their meetings, discussions, the invitation to Lockjaw, the sudden discovery of the documents, summoning Tim as their action man, to eliminate Lockjaw?
15. Lockjaw, getting the help of the bounty hunter, getting the military, information about the revolutionaries, raiding the dance, taking Willa, the issue of her having a phone or not, the machines to detect her presence? The interrogations, the treatment, her reactions?
16. Deandra, her character, revolutionary, rescuing Willa, taking her to the convent, the eccentricity of the nuns, revolutionaries, marijuana? Lockjaw and his troops arriving, the interrogation of Willa’s friends and their treatment? And his DNA test?
17. Bob, in the car with Sergio, the pursuit, Sergio pushing him from the car for his escape? Bob wiring another car, going to the convent, trying to shoot Lockjaw?
18. The final showdown, the undulating roads, the hills, the rollercoaster effect, the music? And the bounty hunter, his change of heart, taking her to the hardened group, the shootout, her escape, driving? Smith and his mission to get rid of Lockjaw and Willa? His shooting Lockjaw, the crash of the car? The three cars, Willa, Smith, Bob, up and down the undulating roads? Willa and her plan, Smith crashing into her, the testing him with the codes, her shooting him? Bob, finding her, her agitation, the codes, reunited with Bob?
19. Lockjaw, surviving, scarred, coming to the club, being welcomed, his own office, seated in the office, locked in, the gas, his death, carried out?
20. Willa and Bob, mellowing a little, her going to a protest in Oakland?
21. The inspiration from Thomas Pynchon in the past, filmed during the Joe Biden presidency, released during the first year of the second Trump administration, the crises of 2020 file, refugees, power, the Trump cabinet, money and corruption…? And the future of the US?

THE PHOENICIAN SCHEME

US, 2025, 101 minutes, Colour.

Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, Bill Murray, Charlotte Gainsbourg, Willem Dafoe, F. Murray Abraham, Stephen Park, Alex Jennings, Donald Sumpter, Scott Shepherd.

Directed by Wes Anderson.

A significant part of the review for The Phoenician Scheme is to look at the huge credits list, many of the cast having appeared in a number of Wes Anderson films. And, of course, expectations from writer-director, Wes Anderson. Anderson has been writing and directing films, including two animation films, for more than a quarter of a century. His tyle and his exploration of themes is, to say the least, highly distinctive.

And, The Phoenician Scheme, is quite idiosyncratically distinctive. It is very stylised in the visuals, the traditional box screen frame, the framing of action, the references to paintings and the staging looking like 20^th century paintings. Then there are the performances, also stylised, often life theatre performances, eccentric and clipped delivery of lines, postures and posing. And, for those audiences ready to surrender to Anderson, there are many who do, these visuals and the performances are readily engaging.

There is a plot. The setting is 1950, an entrepreneurial businessman from Hungary, Korda, played perfectly, both seriously and ironically, by Benicio del Toro. He has survived several plane crashes, assassins out to get him and sabotage his plan for development, rails and tunnels in Phoenicia. We are presented with a chart indicating his plans as well as the contacts he must make to improve a shortfall in income project. They serve as chapters for the film.

Korda has many children, his own and adopted, hoping for an Einstein for the future. But his only daughter, Liesl, a novice nun, played by Mia Threapleton, is seconded, initially unwillingly and firmly committed to her vocation, to be his heir. (Mia Threapleton is following in the footsteps of her mother, Kate Winslet, a very interesting role.) And, there is Kord’a new assistant, expert on insects, played with accent by Michael Cera.

Interspersed throughout it is round table conference of elders who are monitoring Korda’s behaviour judging him and his morality accordingly.

The encounters with the various characters for financial help are highly entertaining, eccentric and satirically humorous in their way, incorporating the various stars listed above until a culmination in the fearsome presence of Benedict Cumberbatch Korda’s brother.

Then there are Korda’s memories and dreams, flashbacks in black-and-white, some of his near death, or momentary post-death, experiences, some ecclesiastical in an Orthodox style, others with biblical overtones, again with a number of stars – and a cameo by Bill Murray, who has been working with Anderson for a long time, culminating in his presence as God.

Anderson has a wry and offbeat sense of humour, so often the unexpected, some realism and then some surrealism, farcical moments, deadly serious moments, tantalising the audience, a treat for those who are willing to be tantalised.

1. A Wes Anderson film, style, visual, verbal, humorous, satirical, ironic? Underlying serious themes? The strengths of his casts, many actors reappearing in his films?
2. The visual style of the film, but colour like 20^th century contemporary paintings? Sets and decor? Photography, the black and white flashbacks? Staging of the action, like stage performance, all postures and posings? The stylised action sequences? The performances, stylised and realism? The language of the screenplay, the particular style of delivery? The overall effect and response?
3. The setting in 1950, memories of World War II, business enterprises after the war, international entrepreneurs, international projects and finance?, Double dealing?
4. The explanation of Korda, his business acumen, the 5%? The background of his marriages? Children and adopted children, hoping for an Einstein? His relationship with his daughter, novice nun, seconding her, naming her as his heir? His staff, his planes, the plans to kill him, his surviving the various crashes?
5. The plane ride, his assistant cut in half and swept away, the crash, surviving? Meeting his daughter, her personality, severe, dedicated to the convent, contact with the mother superior, wanting to make her vows? Her not knowing her father, his reputation with her? Her unwillingness to be part of his empire? The plan, her observing his behaviour, learning more about him, her beads, images, sign of the cross, holy water?
6. Bjorn, Scandinavian background, accent, present on the plane, his role as assistant, his expertise on insects, his attraction to Liesl, declarations? The comic style of his character, interactions?
7. The Phoenician scheme itself, tunnels and railway, the finance, the image on the screen with the various contacts for making up the gap in finance? The structure of the film, the various contacts?
8. The background of the assembly, the business discussions, the following of Korda, the decisions about his business and morality?
9. The Americans, in the tunnel, on the train, the discussions, suspicions, the meeting with the Prince of Phoenicia, the attack by the camel riders, the Prince saving Korda? The financial discussions, the proposal of the basketball competition, the Prince and his ignorance of the game, Korda hopeless, the skill of the two Americans, yet the Prince succeeding? Getting a grant?
10. Going to Marseille Bob, the manager of the club, past relationship with Korda, Liesel and Bjorn observing, the raid on the club, the freedom fighters, the personality of Sergio, Bob upset about the roof, and Korda taking the bullet for Bob? Getting the grant?
11. Marty, fast talking American, suspicious of Korda, Korda shot, Marty providing the blood transfusion, making an agreement?
12. Going to see Hilda, the distant cousin, her financial knowledge, the prospect of the marriage, her place in the family, with Liese?
13. The flight, going to see Nubar, the crash, the jungle, Bjorn and his being unmasked as an agent, his siding with Korda, Korda in the quicksand, Bjorn rescuing him, the arrival of Sergio and his revolutionaries, taking the group to safety?
14. The encounter with Nubar, looking sinister, the relationship, the mastermind behind the assassination attempts, discussing the family, the finance, the satirical physical fight between Nubar and Korda?
15. Korda, death experiences, near death, his life before him, black-and-white photography, the bearded Orthodox-like sequences, the characters, judgements? The biblical sequences, the personalities, the pageantry, Bill Murray as God?
16. Liesl, the contact with the mother superior, her being present for the business deals, the money for the community? Liesl opting to leave the convent?
17. The finale, Korda and his being honest, losing everything, restaurant, the working in the kitchen, father and daughter, reconciled, and a happy life?

REPTILE

US, 2023, 134 minutes, Colour.

Benicio del Toro, Justin Timberlake, Alicia Silverstone, Eric Bogosian, Dominick Lombardo, Frances Fisher, Ato Essandoh, Michael Pitt, Karl Glusman, Thad Luckinbill.

Directed by Grant Singer.

Reptile – the audience will have to work out their understanding of the title, though there is a suggestion at one stage of a sloughed snakeskin.

This is a murder mystery. But the film is, strongly, a police investigation. The setting is a New England town, the focus on real estate and agents, and, as the complications of the plot develop, issues of drug dealing and corruption.

Benicio del Toro plays an upright detective, dedicated to his work, his relationship with his wife, Judy, played by Alicia Silverstone, who can be hostess in the traditional sense but also collaborates with her husband in his investigations and with suggestions for solutions. There is a very good cast led by Justin Timberlake has Will, and he is a real estate hotshot, Frances Fisher as his mother, Michael Pitt as Ely, an eccentric victim of real estate dealings, Eric Bogosian as the police commander.

When Will’s partner and fiancee is murdered, he is under suspicion as is his mother who is very dominating of him and partner in their agency. There is also the murdered woman’s ex-husband, who responds in a very surly way to the investigations. Then there is the always suspicious Ely, a potential murderer.

In many ways, the plot is quite convoluted and requires audience attention, the screenplay not always filling in some details about characters and their behaviour, the audience having to be alert to pick up the connections.

It is also complicated in its portrait of the personal struggles of the detective, his career, doing the right thing, relationship with his wife, with friends (especially well and offers him a well-paying security job connected with the real estate agency), and his commander who is suffering from MS.

Some excellent ingredients, but demanding in audience attention.

1. The title, the references, the sloughed skin?
2. A New England town, homes, streets, luxury mansions, police precincts, police clubs, restaurants, houses in the woods? Feel? Musical score? Theme songs, Angel of the morning? Knocking at my door…?
3. The setting, the real estate industry, will and Summer, showing people around, the language of the agents, promotions, Will, the clashes with Summer, with his mother, going to the convention, his speech? Praise? Going home, the clash with Summer? The next day, going to the house, findings Summer dead? The police, the interrogations, the neighbours, the witness? Ely being present?
4. Introduction to Tom, the card game, the friends, the police, the banter? Introduction to Judy, to Robert Allen and his command, news of MS?
5. Tom, age, experience, personality, wanting to be a cop, integrity, the past, the investigation, colleagues wary? Support of Robert Allen? The scene of the crime, suspicions, the interviews with Will, his explanations, personality, smooth? The interrogation of Summer’s friend, the scene at the pool, her testimony? The information about the ex-husband, tracking him down, the visit, his surly response, the drug background, the interrogation, the later visit, the gun, Tom shooting, his death? The visit to Ely, suspicions, his behaviour?
6. The background of the real estate company, the domination of Wil’ls mother, Will and Summer, the arrangements, the deals, the information about the transactions, Tom finding the documents, further information, arrangements and covers?
7. The implication of drugs in dealing, Tom examining the drugs in quarantine, the packaging, the information about the agency and the drug connections? Wally, offering Tom the job for security, the ring and badge? Wally and the connection?
8. Tom, his relationship with Judy, love, her contributions to the cases, suggestions to follow? Tom listening into her phone calls?
9. Tom, the consequences of shooting the ex-husband, hearing, the support of his workers, the issue of the metal, his not wanting it, the final announcement?
10. Tom, his working with Cleary, friendship, interactions, the work, at the office? Tom and his surveillance, cameras, phones and listening in?
11. The birthday party for Robert Allen, the issue of the car, Judy and her comments, finding the car in the garage, talking with Robert Allen? Coming back the next day, coming up the drive, Allen being shot, Tom accompanied by his superior, the Superior and the gun, Wally, the deaths?
12. Will, the golf course, his being arrested?
13. The film as a story of small town police investigation, business and corruption, police corruption, drugs?