Displaying items by tag: Brian Cox

GLENROTHAN

UK, 2025, 97 minutes, Colour.

Alan Cumming, Brian Cox, Shirley Henderson, Alexandra Shipp, Alexandra Wilkie.

Directed by Brian Cox.

Have you ever been to Scotland? Have you wanted to go to Scotland? In the meantime, the scenery in Glenrothan, beautiful all throughout this film, will have to be some compensation!

The setting is a country home and a distillery, run by a family for 200 years. The present manager is Sandy, the welcome presence of actor Brian Cox (who is also directed the film). Cox has portrayed some harsh characters on the big screen and the small screen, Hannibal Lecter in Manhunter, Logan Roy in Succession. But, this film gives him an opportunity to be more benign. He is getting old, unwell, and very conscious that his younger brother left Scotland for America 40 years earlier and has never been back. He wants a reconciliation.

The plotline can be considered fairly predictable, going back over the past, harsh experiences, alienation, but a longing for reconciliation. (Interestingly, a number of reviewers, expecting a tough Brian Cox have been rather dismissive of the plot, some calling it “cosy” at best.) But, most audiences watching Glenrothan and will have hopes for that reconciliation.

The younger brother, Donal, is played by noted Scottish actor, Alan Cumming, who also has the opportunity to sing. There are flashbacks which explain Donal’s leaving, their harsh and demanding father, severe on his son. But, in Chicago, Donal has married, has a daughter and granddaughter, runs a blues jazz club where he is happy – but then, disaster, it burns down.

With a letter from his brother, Donal finally decides to go back, encountering old acquaintances, meeting Jess (a rather fiery Shirley Henderson) who is now managing the distillery, but she was the girl he left behind.

We know that there are programs for family reconciliations, for going back into the past, retreats called. Life’s Healing Journey. And, this is what happens here, an acknowledgement of wrongs, on all sides, the surfacing of intense feelings, continued experiences of uncertainty, and the challenges of age, illness, and the inheritance of the distillery.

Alexandra Shipp plays Donal’s daughter and Alexandra Wilkie is striking as his cheerful young granddaughter.

Yes, a familiar plot, an appeal to our deeper emotions and hopes. And, after some dramatic moments, some joy and relaxation as we are immersed in the Scottish landscapes.

1. The title, Scotland, the mansion, the distillery, the family, family problems, reconciliation?
2. The Scottish scenery, the beauty, inserting scenery sequences throughout the film? The musical score, the songs?
3. Sandy, Brian Cox’s screen presence, directing the film? Age, health, running the distillery? Reliance on Jess? His status, the family and 200 years with the distillery? The past, the influence of his father, the death of his mother, her graveside? His relationship with Donal, age difference, together, differences, observing his father’s treatment of Donal? Donal leaving, absent for 40 years, not returning?
4. Donal, 40 years in Chicago, from his 20s to his 60s, marriage, his wife leaving him, the relationship with his daughter, love for the granddaughter, the bar, the music, Amy singing? A life in America? Not remembering his father? Not wanting to return? No bond with Sandy?
5. The bar burning down, the insurance not paid up, the letter from his brother? The decision to go to Scotland? The fact that his daughter and granddaughter often went and knew Sandy will? The flight, the experience, arrival, the town, sense of alienation, sense of being at home?
6. The interactions between the two brothers, the memories, the flashbacks to their father, the treatment of Donal? His skills with whiskey, his father downplaying them? The relationship with Jess, together, riding together, his leaving, failing to communicate with her?
7. Donal, in the house, the memories, the tour of the distillery, some of the old characters from the past, George and his reaction? Interactions with Jess, the buildup to the flashbacks of his leaving, her marriage, daughter, her place with the distillery? The treatment of Donal? His finding the motorbike restored?
8. Donal, having time, to walk, to think, remember, his mother’s grave, in the woods?
9. The situation, finance, Sandy resigning, the sale of the distillery? The speeches, the announcement?
10. Donal, change of heart, not selling the distillery, Jess being in charge?
11. The financial situation, Chicago, the treasured whiskies, their value, the auction, the high price? Financial difficulties solved?
12. Life’s healing journey, the two brothers, the healing of the past, the reconciliation, the future?

MENDING THE LINE

US, 2022, 122 minutes, Colour.

Sinqua Walls, Brian Cox, Perry Matfield, Wes Studi, Patricia Heaton, Irene Bedard.

Directed by Joshua Caldwell.

Mending the line actually refers to flyfishing.

Flyfishing, very popular in the United States, emerged as a sporting activity for returning veterans with PTSD. And, there are echoes of the classic A River Runs Through It.

This is a story of veterans from war in Afghanistan, beginning with some visual military action, the central character, John Colter (Sinqua Walls) surviving while many of his comrades die, a deep impression of grief as well as responsibility on his psyche.

On his return home, in consultation with a doctor, Patricia Heaton, but not finding group therapy effective, the doctor links in with Ike, a typically enjoyable tough performance by Brian Cox, also a veteran, very much involved in flyfishing.

The physical activity is important. Also some research on the nature of the lines and baits. And, the librarian, volunteer, at the centre, herself with some grief because of the war, participates in the flyfishing.

In many ways, the plot is evident as to where it is leading. However, it is a very significant contribution to the treatment of PTSD and its effectiveness.

1. The title, flyfishing, casting accurately?
2. 2018, the American presence in Afghanistan, the patrols, dangers, action, heroism, deaths? Consequences? PTSD? Healing in therapy?
3. Audience and flyfishing, memories of A River Runs Through It, some literature, the rods, the detailed explanation for baits, techniques, the tranquility of the river, the release of the fish, thanks and peace for the freed fish? The veterans choosing to let them live?
4. The opening, Afghanistan, the last day, Colter deciding for a final patrol, the reactions of the men, Blitz and his impending wedding, Colter as best man, the patrol, the ambush, the shooting, the three men running to the building, the explosion, deaths? Colter’s injury? (And the later flashbacks to illustrate Colter and PTSD?)
5. The Montana setting, the beauty of the mountains, the river? The town? The hospital, wards, rooms, interviews, atmosphere? The library? The ordinariness of the town? The musical score?
6. The portrait of John Colter, African-American, his background, no family, on the move, the Marines as his family, brotherhood, service in Afghanistan? His eagerness to return? The various interviews, the doctors and the tests, therapy and his, the leader who had not served in war, the challenges to the doctor, her protocols, her assessment of his condition? The scabs on his leg and the treatment, his limp? Anxiety, memories, building responsibility, missing comrades? His drinking?
7. Ike, crusty, living by himself, the flyfishing, his collapse, hospital, the doctor and the warnings? His friendship with Harrison, memories, joking, the shop, fishing and the competition? The gradual revelation of his background, Vietnam, his sense of responsibility, the return, not coping, leaving wife and family? His estranged son?
8. Colter, the doctor recommending flyfishing, Colter’s reaction, the eventual agreement, meeting, working together, supporting Ike, learning, in action, studying the books? The bonding between the two, supporting Ike, hospital, Ike’s words and wisdom about the chapters in the military life?
9. The doctor, in herself, her concern for the veterans, advice, the faith in flyfishing as therapy? The group sessions, Colter and is not fitting in? Her concern for Ike?
10. Lucy, friendship with Colter, librarian, volunteer, giving him The Sun also Rises? His persuading her about the flyfishing, her joining in, the effect on her, on each of them? The later revelation about her past, the death, her emotional troubles?
11. Ike and Harrison, veterans of the past, friendship, give-and-take, the discussions, portrait of old veterans?
12. The conclusions about PTSD, flyfishing, therapy, integration of emotions?
13. The final photos, black and white, the veterans and flyfishing?

THE AUTOPSY OF JANE DOE

UK, 2016, 86 minutes, Colour.

Brian Cox, Emile Hirsch, Ophelia Lovibond, Michael McElhatton, Olwen Catherine Kelly.

Directed by Andre Ovredal.

A brief horror film, but very different. This is a British production, American setting, but filmed on location in England. And the director is Norwegian, Andre Ovredal, noted for Troll Hunter and the Dracula variation, Last Voyage of the Demeter.

In this film, the body of a beautiful but an unidentified woman is discovered and taken to the morgue for an autopsy. The autopsies are managed by a father and son who work closely together, played by Brian Cox (some years before Succession) and Emile Hirsch.

The action takes place overnight, and the action is confined within the house, but especially the laboratory for the autopsy. The screenplay begins as something of a murder mystery, a detective investigating, the commission for those doing the autopsy to provide information quickly.

Some of the autopsy procedure is quite graphic, the cutting, the intestines, close-ups… But, soon there are mysterious aspects to be found in the body of the young woman. And it is a stormy night. And the electricity goes out, requiring the generator. Strange noises throughout the house…

The film is well-written and well acted, some credibility that the situation could arise – but, then the mystery expanding, suggestions of witchcraft, mysterious presences, deaths.

The film had positive critical response – and a commendation for finding a new venue for horror (although one does think back to Burke and Hare and the Body Snatchers).

1. British production, American settings, British location photography, Norwegian directors?
2. Audience response, a different perspective for horror films?
3. The location, the American town, the surroundings, the location for the discovery of the body? The exterior of the house? The interior, the morgue, autopsies, the dark corridors?
4. The father and son working together, the background history, their working well together, mutual respect, talent? Tommy, the film illustrating his skills with autopsies, Austin, his skills? The details of the autopsy throughout the film, the close-ups of the corpse, beauty and touched, then the cutting, the opening, the focus on the body parts, the mysteries, the insect from the nose and the blood, the parchment and its signs, the missing tooth, the flower…?
5. The film as a mystery, the local police, bringing the body, later returning, the assistant? And the mystery continuing?
6. Austin, Emma, her visit, wanting to see the bodies, his being unwilling, his father urging her to have a look, the effect? The plan for the outing? Her later returning, the horror, her death? Austin and his grief?
7. The process of the autopsy, writing on the board, the microscope an examination, the efficiency of the work, and in detail?
8. The mystery, the consultation of books, identification of the flower, the thread, keeping the blood?
9. The indication of witchcraft, the mystery? The oncoming storm, thunder and lightning, the radio broadcast? The outing of the lights? Austin and his searching the ceiling, the dead cat? And the rats in the background?
10. Increasing mystery, the violence, the sense of presence in the building, Emma and her death, appearances, doors being locked?
11. The increasing suspense, the effect on Tommy, being possessed, wanting to die, Austin and the death, Austin and his death?
12. The aftermath, the police arrival, the carrying out of the bodies? That Jane Doe unharmed – and the process possibly starting again?

THE ELECTRIC STATE

US, 2025, 125 minutes, Colour.

Chris Pratt, Millie Bobby Brown, Woody Norman, Jason Alexander, Giancarlo Esposito, Ann Russo, Greg Cromer, Stanley Tucci, Holly Hunter, voices of: Woody Harrelson, Ke Huy Quan, Alan Tudyk, Anthony Mackie, Jenny Slate, Brian Cox, Hank Azariah, Colman Domingo, Kurt Loder.

Directed by Anthony Russo, Joe Russo.

There were high expectations for this big-budget action fantasy adventure, set in an alternate world in the 1990s. It was directed by the Russo Brothers who had moved from smaller popular films to three Captain America superhero epics and then to two Avengers adventures, Avengers Endgame registering the highest box office.

Then came this ambitious fantasy adventure, based on the graphic images by Simon Stalenhag, adapted by the Russo Bros regular writers for the Marvel Universe films. And a very strong cast of character actors led by Chris Pratt and Millie Bobby Brown and including Stanley Tucci, Woody Harrelson, Holly Hunter, Anthony Mackie, Brian Cox, Colman Domingo…

However, reviews were unfavourable and the film was not popular. However, there is much to appeal to audiences who like imaginative, futuristic fantasy adventures.

1. The status of the film, the budget, the cast, the directors? Based on an illustrated novel? Pull critical response?
2. The 1990s, the title, an alternate world history, humans versus robots? The title?
3. The American cities, the war, the deserts and outposts? The musical score?
4. Ethan Skate as hero and villain, his technology an empire, the robots, taking over the consciousness of human minds, the reaction of the humans, many living and vegetative life, rising up against the robots, the human victory, robots to the Exclusion Zone?
5. 1994, Michelle, history of the crash and her parents, in foster homes, Ted and his lazy life, Michelle at school, not using AI technology for her work?
6. Cosmo, the sense in robot, the TV character, Michelle’s brother, Christopher and his delight with Cosmo? Cosmo programmed with gestures, sounds, controlled by Christopher’s consciousness?
7. The sense of mission, the encounter with Keats, his history, his character, offhand, soldier? The visit to Dr Amherst and his declaration the Christopher was dead?
8. The adventure, the journey, the trek through the desert, Keats and is exploitations? The Exclusion Zone, home of the robot, Mr Peanut? Characters and voices?
9. The confrontation with Skate, his character, presumptions, using Christopher and his mind and consciousness, the impact for humans, robots?
10. The pursuit of Christopher, Col Bradbury, the deadly mission, candle Bradbury and is disillusioned with Skate, changing his attitude?
11. Michelle, PC at the robots, the confrontation with skate’s Army? The role of Bradbury?
12. Christopher, the explanation, his wanting to be disconnected, Michelle disconnecting? The further attacks, the attack on Herman, the smaller version?
13. The aftermath, Christopher dying, Skate and his loss of control, arrest? Michelle and her explanation of what it happened? And the possibility of humans and robots and the Exclusion Zone in the future?

THE PARENTING

US, 2025, 94 minutes, Colour.

Nik Dodani, Brandon Flynn, Brian Cox, Edie Falco, Lisa Kudrow, Dean Norris, Vivian Bang, Parker Posey.

Directed by Craig Johnson.

It might seem strange to begin a review of filma  that looks to be focusing on family, The Parenting, with an alert to potential audiences.

Those who take cinema very seriously may be attracted by the significant names of cast members, Brian Cox, Edie Falco, Lisa Kudrow, Parker Posey. But, if they began to watch, they would soon be wondering what they were watching – and why the strong cast actually said yes to be in the film.

Audiences who  enjoy offbeat and broad comedies with touches of horror as well as innuendo, will be entertained with no intellectual demands made on them! In fact, the writer of the film, Ken Sublette, has written almost 300 episodes of sketches for Saturday Night Live, as well as several special episodes.

While there is a linear plot, the main effect of this film is, as with comics sketches, short episodes, some working, some working less well, but one after the other to make the effect.

There is a mysterious parenting prologue to the film, 1983, a family with difficulties, some mysterious supernatural goings-on and the family trapped and their house becoming a haunted house.

40 years on, an estate agent, played by Parker Posey in a tantalising style, rents the house. The first occupants are a young gay couple with intentions of proposing. They invite their parents to join them. And, there later joined by a great friend.

On the one hand, this is a comedy which takes gay characters and relationships seriously (even with quite a number of jokes on them), focuses on the response of the parent generation, but quite a lot of tangles. The couple is played by Nik Dodani and Brandon Flynn. But the interesting casting is that of the parents, the very serious-minded Brian Cox and Edie Falco, the happy-go-lucky parents, Lisa Kudrow and Dean Norris. In fact, the two sets of parents rather dominate rather than the couple.

Then the haunting starts, revelations about Parker Posey and books for raising the dead, the key to raising a ghost being the Wi-Fi password! And, the various parents are asked to caricature stereotypes – and even more demands, testing dignity, a of Brire made of Brian Cox.

Plenty of farce, supernatural and ghost raising themes (and the ghost is certainly not a parent), many audiences enjoying the rollicking tone and others may be questioning why they are watching what might be called politely, “absurd”.

THE LORD OF THE RINGS. THE WAR OF THE ROHIRRIM

New Zealand, US, Japan, 2024, 134 minutes, Colour.

Voices of: Brian Cox, Gaia Wise, Miranda Otto, Luca Pasquarello, Lorraine Ashbourne, Shaun Dooley, Laurence Ubong Williams, Michael Wildman, Billy Boyd, Dominic Monaghan.

Directed by Kenji Kamiyama.

This is a pre-Hobbit tale, 183 years before the story of the rings. The characters and places are taken from appendices to J.R.R.Tolkien’s sagas. However, one character has been invented for this film, a young, vigorous, heroic princess, Hera, with the narrator telling us that none of the stories told about her survived. A license then for the screenwriters to be creative.

The immediate striking aspect of the film is that it is an animation saga. The director is Japanese, Kenji Kamiyama, with much experience in Japanese Anime. So, on the one hand, this is very much anime style of storytelling and action, particularly characteristic, the minimal mouth movement of the characters as they speak. But, on the other hand, the influence of Peter Jackson’s films, backgrounds, castles, warfare, is still very important. And, the style of animation, building on the live performance of the actors.

It is surprising to learn that the film has not been a box office success. One would have thought that there is a continual succession of generations fascinated by Middle Earth, its characters, the conflicts, the magic.

For audiences able to accept this anime style and an animated version of the stories, it is very enjoyable in its way. It is a very masculine world, a mighty king, voiced by Brian Cox, his prince sons, his Rio prince nephew, his Armed Forces, and a conflict with a rival lord, a sudden death, the Lord’s son consumed with vengeance, unrelenting, attacking the castle, laying siege, a bitter winter, unwilling to take advice to raise the siege.

But, we have been alerted straightaway to Hera, another embodiment of the development of the Disney princesses, the Warrior Princess, doted on by her father, protected by him, but learning to take stronger and stronger stances, eventually confronting the angry vengeful besieger of the castle, and hand-to-hand combat.

At the end, there are some links to the future Rings stories, the image of Christopher Lee’s Saruman (and his actual voice, a clip from one of the films, reminding us of his evil power). Billy Boyd and Dominic Monaghan from the originals are also in the voice cast and, interestingly, Hera’s devotedly strong-minded maid is voiced by Lorraine Ashbourne (who, in fact, is the wife of Andy Serkis, Gollum).

Plenty of action, plenty of colour, memories of Howard Shore’s rousing score, a venture into a different kind of Middle Earth.

1. The popularity of Tolkien’s books? Tales and imagination? Fantasy? Heroes? The popularity of the films? Peter Jackson, the adaptations, producer of this film? Philippa Boyens and her writing the screenplays?
2. The decision for an animation film? The Japanese , the directors, Anime style, formal, strong characters, the importance of the layouts and backgrounds, musical score (and the echoes of Howard Shore’s original score)? The animation style fitting the Tolkien world, Middle Earth, the delineation of each of the characters, costume design, the backgrounds, the action sequences, the battles and hand-to-hand fight?
3. The background of the characters and places in Tolkien’s appendices? The invention of Hera? The voice-over, the explanation of her character, the fact that her stories were not recorded? Free opportunity for the screenwriters?
4. The introduction to Hera, age, background, her father and younger brothers, skilled in riding the horse, and action in vigorous heroine?
5. The kingdom, the King, his appearance, strength, leadership, the sudden appearance of his rival, the confrontation, the one-to-one fight, the fatal blow, the reaction of the son, vengeance, consumed? And his past relationship with Hera in their childhood, his proposal, her rejection?
6. The title, the war, Wulf and his vengeance, the importance of his assistant and advice? Laying siege to the Castle, his forces, the long winter, the effect on the troops, on those trapped in the Castle? His adviser suggesting he withdraw, his refusal, ultimately killing him?
7. Hera, the situation with the Eagles, the offering of the food, their power, her later returning, the request, their understanding the language, the helmet, the Eagle flying to urge her cousin to come and fight?
8. The situation in the Castle, the King, his blaming himself, protecting his daughter, going out, the fight and confrontation, his surviving, his single-handed warding off the enemy? The reconciliation with Hera? His watching from the battlements, Wulf and the death of his son, the hostage, cutting his throat?
9. Hera, her maid, tough-minded, her son, his role in the Castle, the proclamations?
10. Hera, the decisions about the escape, the inhabitants rounded up, the young boy, leadership, escaping the castle?
11. Hera, her cousin and his forces coming, the siege, the fortification pressed against the castle wall, the attack, the opening of the gates, their seizing, the king remaining outside?
12. Hera, her plan, with her maid, writing to confront Wulf, the combat, his attack, wounding her, her killing him?
13. Order restored, but Hera wanting to be free and go her own way?
14. The links with The Lord of the Rings, Suraman’s appearance, the Orcs and their stealing, 183 years before the Rings?