Displaying items by tag: Emilia Jones

THE RUNNING MAN

US, 2025, 134 minutes, Colour.

Glenn Powell, James Brolin, Colman Domingo, William H.Macy, Michael Cera, Emilia Jones, Lee Pace, James Frecheville, Sean Hayes.

Directed by Edgar Wright.

Stephen King, under his other name, Richard Bachmann, published the novel, The Running Man, in 1982. The film version was released in 1987, starring Arnold Schwarzenegger. This reviewer checked his review from 1987 and was surprised to find have the key elements from that period, political, media, violence, was so strong then. And, they are definitely to the fore in this version, almost 4 decades later.

It is hard to remember whether the television networks promoted such life-and-death hunts in those days – although, in 1988, the Truman Show was released, a more benign but nonetheless overarching intervention by television directors to control human stories. The other aspect of the novel and of the 1987 version was to refer to the hunts in terms of the Coliseum, gladiatorial combats, an avid audience relishing the possibilities for government sanctioned public deaths.

The bloodlust of audiences, rather sharpened by the variations on reality TV of the 21^st-century, is again to the fore. This time the target is Ben Richards, Glenn Powell reminding us that he is an attractive screen presence (emerging three years ago in Top Gun: Maverick, fighting tornadoes in Twisters, Romantic comedy in Anyone but You, and a charming Hit Man). Then his angry, fired for insubordination, desperate for finance for his sick daughter, auditioning to go into the Running Man Show, pursued by official and masked Hunters, getting bonuses for everyday of survival, million dollar reward if he survives 30 days.

A lot of action adventure, needless to say, risks, threats, narrow escapes, high-powered dangerous situations… And his eluding them all. Josh Brolin is severe as the network executive, controlling, dominant, until you are then further. And there is Colman Domingo as the television host, staring up the audience, showing clips of Ben and his survival as well as the pursuits.

Ben gets various amounts of help along the way, most eccentrically from a bizarre character played by Michael Sarah, pumping up the risks, magnifying the dangers.

At 2 ¼ hours, the film is very long, repetitive the pursuits and escapes, culminating in a perilous flight with a television soap Opera star as hostage.

On the one hand, action packed for the fans. On the other hand, a huge critique of this kind of gladiatorial reality show and its effect on its audience.

1. The title, the reality of Ben Richards being pursued, the television show, the network managers and controllers, the compere is, the Hunters, and the participation of the public, hounding the runner, helping him?
2. The perspective of Stephen King, his insights into this kind of world as early as the early 1980s, the film version of 1987, the development of this kind of media world and violence over the next four decades?
3. Action spectacular, the details of the chases, tensions, pressure, crowd watching in reality, in the studio, on the television screens, supporters, informers, the effect on Ben Richards?
4. Ben and his situation, his bosses, being fired, insubordination, anger, asking for money, his wife, his sick daughter? His motivation? The money and aid for the family? Going to the auditions, the range of tests, his helping the competitor falling? The team, the uniform, the other two members, the confident young man and his quickly being disposed of, the woman, at Las Vegas, defying the authorities, escaping, trapped and her death?
5. Dan Killian, manager of the network, his personality, seen on screen, his proposal to Ben, the money situation, his continued interventions, lucrative office, the bonuses? His ultimate intentions? The interventions, the Hunters, filming, the drones, the final plane ride and his control? The finale, the confrontation with the TV host, his defeat?
6. The TV host, the reality and the parody of the style of the host, taking sides, watching the sequences, staring up the audience, the progress of the hunt, the days passing? His ultimate stands, the confrontation with Dan Killian?
7. The various helpers along the way, the young man and his family, taking Ben into their home, his equipment, his pod cast, the information, driving the car? Morley, the past connections, the documentation, the authorities coming in killing him? Elton, eccentricity, his mother, the help, the challenges to the Hunters, the chases, the traps, tunnels? The vehicles on the escape, the crashes and pursuits?
8. Ben and the hotel, changing his identity, the cards, hair, moustache, disguises a priest? On the building, the pursuit, the sign, hanging, falling and crashing? The ultimate explosion?
9. The public, tracking him down, giving information, cheering him on?
10. The television show, the Americanos, Emilia, in the car, her believing the propaganda, then persuading her of the truth, the pursuit, the roadblocks, Ben being shrewd with Dan Killian’s intentions, his being led through, the plane, the pilots as Hunters, the unmasking of the previous competitor, the fights, the plane, potential crash? Emilia, helping, outside the plane, the parachute?
11. Ben, the images of his wife and child, the flashbacks, motivating him? Ultimate success?
12. A commercial and money world, Killian and his wanting Ben to have his own program, to be the TV Hunter?
13. The film offering a commentary on the contemporary world of power, the wielding of power, the media, the role of the individual, motivations, money, integrity?

CAT PERSON

US, 2023, 118 minutes, Colour.

Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis.

Directed by Susanna Fogel.

It would seem that in 2017, a short story in the New Yorker, by Kristen Roupenian, was an immediate runaway success. It has now been turned into a film – although, commentators note that the final 30-40 minutes of the film are an addition to the original short story.

The unwary viewer, not familiar with the short story, probably expects a horror film in the vein of Cat People or memories of Batman’s foe, Catwoman. But, this is not the case. A cat person is someone who likes/has cats whether they will admit it or not!

But, this is a story for the younger generation, very much in the contemporary social media world, dating and, especially self-revelation, communication by text.

In reflecting on this film, this reviewer came across an IMD blog which more succinctly expressed the key elements and response to the film:

Exploration of why romance fails

feczo25 November 2023

Romance, both sides seek it, but often there are very different ideas about what that means.

The movie explores pitfalls of idealisation of the other person, placing looks above genuine connection and feelings as well as double standards and jumping to conclusions without trying to deeply understand another person.

It is also accurately portrayed how people read more into text messages than the sender intends both positively and other times negatively perceiving a neutral or opposite intent, or just making it wildly colourful.

Although the characters are somewhat stereotypical and extreme the situations are not far from everyday life, so they are relatable.

"Cat Person" is about the thorny complications of male-female "courtship" rituals, riddled with misunderstandings, unspoken misgivings, and ignored red flags.

Very well put, only to add that the performances are strong, Emilia Jones (British, star of the Oscar-winning CODA) as Margot, Geraldine Viswanathan (Australian) as Margot’s protective friend, Taylor, and Nicholas Braun (American) as the sometimes bewildered, often clumsy, movie fan, Robert.

1. The title, expectations of horror and titles like Cat People, Catwoman…? Rather, a person who has cats, admits this or not?
2. The background of the popular New Yorker short story? The final part of the film adding to the story?
3. The American city, college, dormitories and rooms, cinemas, concession stand? Bars and meetings? Restaurants? The streets? Musical score?
4. The range of songs throughout the film, classic songs, contemporary, and the effect of the lyrics on situations and characters?
5. A film about dating, communication, getting to know partners or not, presuppositions and presumptions? Communication, personalised, in personalised with texting? Instant texting, affirmations, later regrets?
6. Margo’s story, aged 20, some family background, the visit to the family, singing with her mother? Sophomore, sharing rooms, friendship with Taylor? Other members of the college? Boys and meetings? At the cinema, showing classic movies, the customers?
7. The encounter with Robert, coming to the cinema, her comment on what he is buying, his taking it is an insult? His return, phone numbers? Time passing and not meeting, all the texting, the relationship set up by the texting? The effect on each of them?
8. Taylor, best friend, her on-line concerns, feminism, definite in her opinions, protective of Margot? Speculation about people online, their identities, men with feminist views?
9. The discussions with the former boyfriend, his explanations about experimentation being asexual?
10. The relationship between Robert and Margot, the suggestion of the date, texting about The Empire Strikes Back, her reactions, his interpretation that she liked films with subtitles, tangled messages, her agreeing, going to her cinema, watching the film, her being flirtatious, leaning on him with the popcorn, his absorption in the film, Han Solo and layer and a kiss? Her dissatisfaction with the outing, the going for a drink, the interactions, understandings and misunderstandings?
11. Margo, her imagination, the information that men are afraid that women will laugh at them, women that that man will kill them? Her nightmares, the dog and the corpse, Roberts various occupations, attacking her in the car…?
12. The awkwardness, the episode of the kiss, her comments about how badly he kissed, revelation that he was 34, is isolated life? The going to his home, the long sex scene, her alter ego watching and commenting, the effect of the experience, on Margot at her dissatisfaction? On Robert?
13. The aftermath, Margot wanting out, the discussions with Taylor, Taylor and her texting, the next episode of texting, Robert and his moods, desperation?
14. The clash with Taylor, arguing, ousting, Taylor and her dependencies?
15. Margo, moods, riding the bike, going to Robert’s house, the arguments, the misunderstandings, the violence, the attack, the mace in her eyes, the physical fight, to the basement, the fire, the escape, Robert leaving, urging Margot, her hesitation, later escaping?
16. Taylor, searching for Margot, the cab driver, the burning house, the explanation of identities?
17. The police, the basement, finding the bodies, hospital, recovery?
18. Robert, nurse, leaving the hospital, disappearing? Margo, the experience was Robert – and her future?