Displaying items by tag: Idris Elba

MASTERS OF THE UNIVERSE

US, 2026, 140 minutes, Colour.

Nicholas Galitzine, Camilla Mendez, Idris Elba, Jared Leto, Johannes Hauker Johannessen, Alison Brie, Charlotte Riley, James Purefoy, Dolph Lundgren.

Directed by Travis Knight.

In the 1980s, Masters of the Universe was a Saturday morning television show, a cartoon from Mattei. Then, early in his career, Dolph Lundgren played the central character in a live action version, He-Man.

With the 2020s popularity of remakes of popular shows of the past, here is quite a lavishly produced, 140 minutes version of the cartoon. It might be called a live cartoon version, emphasis on cartoon-styled characters and appearances, performances, idiosyncrasies, very basic dialogue, more than a touch of parody, often setting itself up and expecting the audience to enjoy this kind of adventure.

Masters of the Universe first emerged in the 1980s, the period of Sword and Sorcery adventures rather than an emphasis on superheroes. The hero was He-Man (and, as the new hero starts on his adventures, whom does he encounters but Dolph Lundgren offering advice and challenge!).

This is something of an origin story for He-Man, the background of the kingdom, Castle Greyskull, a very colourful place, some of the trappings gaudy and garish, a King, his queen and little son, Adam, and the expectations of the King that Adam train military fashion, helped by his young friend, Teela, under the command of Duncan, Idris Elba, training the troops.

Then, the invasion, disaster, villain, Skeletor, looking skeletal, played by Jared Leto with a rather rhetorical British accent, and his skeletal and monstrous Lourdes, King and queen, vanquishing the Castle.

The little boy, Adam, is thrust out of the kingdom with the kingdom’s all-powerful sword – but he drops it in a marsh, and finishes up in Oklahoma City, spending 15 years growing up and working in an office, involved in Human Resources, driving many berserk with his continual telling of his story about the search for the sword, threatened by his boss with being fired. But, Adam is now very much a touchy-feely character, pink shirt, a label He/Him on his desk, quietly genial if someone diffident.

But, for fans, all is not lost. Teela finds him, brings him back to the kingdom, training, finding the sword, experience its power, being transformed into a highly muscled and buffed warrior.

Adam is not immediately accepted by the imprisoned members of the kingdom but gradually proves himself, explains that from Human Resources he learned that teamwork is essential and so they prepare to confront Skeletal, lots of battles, Teela often to the rescue, Duncan reviving with energy and leadership, and Adam reconciled with his-father and reunited with his mother.

However, he is transformed and becomes the leader, He-Man, British actor Nicholas Galitzine throwing himself wholeheartedly into playing the genial Adam as well as the warrior He-Man.

This film is an appeal to the fans of old as well as reaching out to the younger generation – but, the scenario and dialogue, the in-jokey references, the touch of parody are very much at the level of enthusiastic 13 to 14-year-old boys.

ZOOTOPIA 2

US, 2025, 108 minutes, Colour.
Voices of: Ginnifer Goodwin, Jason Bateman, Idris Elba, Ke Huy Quan, Andy Samberg, David Strathairn, Patrick Warburton, Danny Trejo, Bonnie Hunt, Don Lake, Alan Tudyk, Shakira.
Directed by Jared Bush and Byron Howard.

Hard to believe that it is nine years since the release of Utopia stop it, it has been kept alive by television and streaming. Eager anticipation for a sequel.

And, it takes a with the original finished, and officer is more of the same, thoroughly entertaining – and enough enjoyment for the children with the animals and their antics, enough for the adults with the story, the homage to various movie conventions, and smart dialogue.

As can be seen from the title, this is a wonderful society, living in harmony, a real Utopia for the animals. However, the animals are completely anthropomorphic, mirroring their human counterparts exactly. And this is where the message comes in, despite the difficulties, if animals can live in Zootopia, why can’t humans overcome bigotry, racism, fear, and create a human Utopia?

Once again, here is the young rabbit, Judy, who with her partner, Nick, has solve the case and they have become police celebrities since Utopia, and voiced excellently by Ginnifer Goodwin. And with Nick (once again Jason Bateman at his best), they have proven themselves – but a more difficult case looms and Judy is determined to solve it, the preferring to stay home! Their boss is a rather large, dark, ox police chief, voiced by Idris Elba.

There is quite a lot of banter this time between Judy and Nick, she over-eager, he over-reluctant. But, there is a mystery to be solved, a police case to be investigated and Judy is determined to triumph, forcing Nick (forcibly) along the way.

At first, some misunderstandings, especially in an automatic aversion to snakes. However, the snake is not the villain but rather a hero, a quest to find the document of his grandmother which says that snakes have a rightful place in’s Utopia. However, they have been excluded, and the villains a family of lynxes.

so, on the one hand, this follows the routines of the familiar police partnerships. On the other hand, there is the sinister family, rather mafioso like, and a whole lot of dangerous action and survival in some quite exotic landscapes, snow, cliffs, top of mountain resorts…

And, as with the first film, a lot of smart dialogue, plenty of puns (getting information from Zoogle, watching Ewe Tube), with perilous situations and romantic confessions and apologies.

Quite a number of new voice talent including Oscar-winner,Ke Huy Quan, and veterans Andy Sandberg, David Strathairn (as villainous brothers) and exuberant seen from Shakira.

The dialogue is very entertaining, often very witty, enjoyable with the parallels with human experience, the echoes of the movies, the to and fro banter between Judy and Nick. (This reviewer noted in the 2016 review: “If the makers can come up with another ingenious plot and smart dialogue, Zootopia 2 would be welcome”.

Yes, definitely welcome.

1.  Acclaim for the film, popularity, ages, different cultures?

2. The animation, the characters, textures: skin, fur, clothes? Expressions? In action?

3. The strength of the voice cast?

4. The musical score, the final song, moods?

5. The different genres and conventions? Family stories, families, buddy cops, authority and government and corruption, Mr Big, science fiction, the Godfather, action? Homage – the touch of parody?

6. The animals, anthropomorphic? Voices, expressions? The young, the old, the parents? The hopes, achievement and ambitions? Police chief,, the detective, the police, the Mayor and the assistant, the victims of corruption, thugs, the godfather, the scientists, the guards?

7. The theme of predators and prey? In the past, savage, the biology? The title of the film? The prejudice, manipulation, criminals, bigotry, racism, sexism, and the importance of multi-cultural society and harmony?

8. The continuity with the original, the situation for Judy and Nick, with the police, the chief, the vain horse mayor, the other members of the staff? Reputation? Keeping the reputation?

9. The situation, the social Gala, Judy dressing up, Nick reluctant, forcing him to go, the mystery of the book, the snake seen as stealing the book, action and mayhem?

10. The revelation of the truth, sympathy for the snake and snakes, the villainous of lynxes, the sympathetic links and his help (and the shock of the later betrayal)?

11. Judy and Nick and the banter, her challenging him, her determination, his reluctance, the series of adventures?

12. The sympathetic snake, the family situation, the snakes exiled, the need to find the book, stealing, the adventures with the book, the family in pursuit? The message on the cover? The background story in the flashbacks? The grandmother and the document?

13. The range of adventures, locations, in the snow, climbing the mountain, the Honeyman resort, the quest, finding the document?

14. The vain horse, in the employ of the family, the buildup to the final confrontation, the betrayal of the brother, the authorities and suspicions of Judy and Nick, everybody coming together, working out the solution, the vindication of the snake family? The welcome return?

15. And the parallels with contemporary USA, power, wealth, bigotry, racism, the need for harmony?

A HOUSE OF DYNAMITE

US, 2025, 119 minutes, Colour.

Idris Elba, Rebecca Ferguson, Gabriel Basso, Jared Harris, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, Jason Clarke.

Directed by Kathryn Bigelow.

Highly explosive.

And, it is beyond highly explosive when there is a threat of nuclear destruction. And this is what A House of Dynamite dramatises, immersing the audience in the crisis, and asking the audience to decide what they would do, what decision they would make, in this world-grave situation.

Over the decades there have been quite a number of films about the nuclear threat. Several notable films emerged after the Russian-US confrontation in October 1962, the missiles of October. And the issue is dramatised in the many films and miniseries about JF Kennedy, especially 13 Days. In 1963-1964, there were Failsafe, Seven Days in May and the frighteningly satiric Dr Strangelove or; How I Learned to Stop Worrying and to Love The Bomb. There were a number of films in the early 80s in the same vein, Testament, The Day After.

But, here we are in the mid-2020s, Russian invasion of Ukraine, tensions with China, conflicts on the India-Pakistan border, Israel, Gaza and the Middle East, the bombing of Tehran…

This is an intense film, directed by Kathryn Bigelow who won an Oscar for her immersion in war, The Hurt Locker, then went on to the search for Osama bin Laden, Zero Dark Thirty. She brings the same tension to this film, giving a hypothetical scenario, the launching of a nuclear missile by an unknown attacker, threatening an American city, attempts to neutralise it, failures, a small window of time to ward off the attack, to make international contacts, diplomacy, the issue finally coming down to the decision of the American President.

The way that the drama heightens audience attention and anxiety is to introduce us to the wide range of officials in war departments, the White House, command posts in Alaska, crisis management groups in American cities, press briefings in Washington. Very quickly, the audience is introduced to, gets to know, sees in action, a wide range of experts, the pressure on them, intel coming in, changes in information, personal pressures, the demand for quick thinking, prudence, risk-taking, issues of responsibility and consequences.

In contact with Russian authorities, there is the powerful opinion of General Brody, Tracy Letts, strong hawkish stances. Important is the opinion of the Deputy National Security adviser played by Gabriel Basso, caught outside the White House, difficulties with connections, crowds, security getting into buildings, all the time having to make changing assessments as information comes in. His opinion is that the options for the president are national surrender or national suicide.

Just as the countdown is approaching, the screenplay goes back in time, the second part of the film focusing on the President, Idris Elba, enabling the audience to realise, even more fully, the responsibility of the President and his decision, personal cost, repercussions. And, memories of the version of Tom Clancy’s A Clear and Present Danger, the integrity and intelligence needed for the President with his finger on the nuclear button.

At each stage of nuclear fears over the decades, and the films dramatising the crises, audiences have been forced to focus very much on the strengths and weaknesses of incumbent presidents, Kennedy, Johnson, Reagan, George W. Bush – and, in 2025, Donald Trump.

A demanding film, an uncomfortable screen experience, and the film challenging each of us in the audience as to what decision, surrender or suicide, that we would make.

1. Consciousness of the arms race, nuclear weapons proliferation, the danger of a nuclear attack? In the 21^st-century?
2. The dramatising of the possibility of such an attack? How plausible given 21^st-century technology, surveillance, speed of reaction and information, possibilities for halting the attack?
3. The screenplay, establishing the scenario of the attack, the situation in Alaska, the Armed Forces, their intelligence, their position near Russia? The recognition, communication? The officer in charge, his reaction, going outside into the snow? Contacting Washington? The role played during the attack?
4. The screenplay and the narrative in Washington DC, the ordinariness of the day, Olivia Walker, at home, with her husband, depositions in Washington, going to headquarters? Her position, security issues, authorities, fellow workers? The significance of this room, security, the range of personnel, the backgrounds, personalities, interactions?
5. The information about the attack, not identifying the source, the range of speculation? The film’s detailing the activities of each person, the responsibilities, their judgements, their personal reactions and the interplay for decisions?
6. The connection with the various military personnel, shown in their situations, the Secretary for Defence, his location, personality, abilities, the connection with his daughter and contact with her, protecting her? On the move, his contact with the Deputy National Security Adviser? The adviser outside, the crowds, making his way to the office, phone calls, decisions, advice, security, entering the building? His being finally required to make an observation, Suicide or Surrender?
7. The links with General Brady, his personality, staff, experience, at a distance, but surveillance connection? His hawkish attitudes? Listening for advice, following it, his assessment, the risk of defeat and humiliation?
8. The failure to stop the missile? The visualising this on the screens? The repercussions for all concerned, disappointment, dismay, continuing planning? The uncertainty of the origins?
9. The connection with the Russians, the disavowing the attack, the delays, the consultations, decisions and advice?
10. The transition to the President, the screenplay going over the same time period, the activities of the President, his young Security Adviser in the car with him, the pressures on him, the social activities, everything genial, the crowds, the message, the president having to escape, the car, the advice?
11. The personality of the president, his integrity, intelligence, capacity for decision-making, the range of the dilemmas presented to him, the personal repercussions for his wife and family, the nation, the advice of suicidal surrender?
12. The screenplay not giving the final decision? Throwing it to the audience to empathise and identify with the situation, the decisions to be made, for the audience to make their decision and appreciate the basis for their decision?

SONIC THE HEDGEHOG 3

Jim Carrey, voices of: Ben Schwartz, Colleen O’Shaughnassy, Idris Elba, Keanu Reeves. James Marsden, Tikka Sumpter, Kristyn Ritter, Natasha Rothwell, Tom Butler.

Directed by Jeff Fowler.

Audiences, younger audiences, will get their money’s worth, and their expectations worth, as they enjoy this third adventure on the computer games hero, Sonic, the Hedgehog.

Sonic, Voiced by Ben Schwartz, featured in the previous two films, and all films directed by Jeff Fowler. Sonic found two further accomplices in the second film, Knuckles and Tails, voiced by Idris Elba and Colleen O’ Shaughnassy. They are quite engaging characters, Knuckles very solemn and principled, Tails, friendly with the lighter touch. So, what will they get up to this time?

The initial answer to the question: what could be better than Sonic and Jim Carrey returning as Dr Robotnik? – Two Sonics and two Dr Robotniks. And, Jim Carrey, who tends to steal every show, obviously enjoyed himself in the previous two films and even more clearly, enjoys being Dr Robotnik and his newly discovered grandfather - equally moustachioed, grandfather’s white. (And, for adult fans and their memories of Jim Carrey’s films, plenty of his antics, over the top, plenty of improvised dialogue, and a reminder that it is 30 years ago that he began to make his mark!)

This time, the three friends, benign aliens, who with their great friends from the other films, Tom and Maddie (James Marsden and Tikka Sumpter). And then authority intervenes, But, frozen for 50 years, another alien hedgehog has now been released, Shadow (voiced by, of all people, Keanu Reeves). And not only is there the grim Shadow, speedily wreaking disaster wherever he rushes, but grandfather Robotnik also appears, daring his grandson, doing a double act in sinister behaviour – except that the original doctor about Nick has made peace with Sonic and his friends.

With the Sega computer games’ background, all kinds of action, no matter how impossible they might seem, ranging from Tokyo to America’s Middle West, they happen. Lots of fast action, always on the move, challenge to the goodies, the dire actions of the baddies, including resurrecting a huge spaceship and grandfather Robotnik’s vengeful ambition to destroy earth and all humans.

But, right from the beginning, there is a fair deal of moralising, about good behaviour, integrity from the heart, Sonic and his competitiveness, his ambitions in leading the team, that it is his team, he has to learn that revenge is no worthy motivation.

So, a family film combination, endearing characters for the youngsters, Jim Carrey for the parents and grandparents accompanying the youngsters, lots of colourful action and dangers, but always script lines enhancing the moral point of view.

THE HARDER THEY FALL

US, 2021, 139 minutes, Colour.

Jonathan Majors, Idris Elba, Regina King, LaKeith Stanfield, Zazie Beeta, Delroy Lindo, Dion Cole, Michael Beach, R.J. Cyler, Edi Gatghegi, DeWanda Wise, Damon Wayans Jr, Danielle Deadwyler,

Directed by Jeymes Samuel.

The strong Western, using the various conventions of the American West, outlaws, violence, rivalries and politics. What makes it more significance is that it is a film which focuses on African-American characters in the West, very few white characters to be seen. And, as been written Jeymes Samuel, a British writer, producer, director, but also a songwriter and musician. And music featuring significantly throughout this film.

There is a very strong opening, in version of a home, parents and their child, the death of the parents, the leader of the troop, the carving the boy’s forehead – and moving 20 years forward.

The star of the film is Jonathan Majors as the boy growing up, leader of his own group, involved in robberies, but also a journey of vengeance, and his relationships with various members of his group.

The other central character of the film is Idris Elba as the gunfighter who carved the boy, was freed from prison, involved in money dealings, taking over a town, ousting the Mayor, and his followers. And, at the end, quite a revelation about the relationship of the two men.

There is a very strong cast indeed, a range of key actors, African-Americans. There are significant male actors like Delroy Lindo, LaKeith Stanfield, Damon Wayans Jr. But, it is even stronger, the African-American women, Regina King, Danielle Deadwyler, Zazie Beetz.

With seeing as a western, is a picture of the characters in the white American West, playing on the conventions, heroes and villains, and ambiguities of characters and behaviour.

1. The title, in the context of the West?
2. The settings, the western locations, action?
3. The cast, African-American cast? Africans Americans in the 19^th century West?
4. Nat Love story, as a child, parents, the attack, their deaths, the carving on his forehead, the passing of 20 years, his new life, associates, killing Cortez? The robbery? The news about Rufus block? Nat and his relationship with Mary Field?
5. The portrait of the supporting characters, in themselves, their Association with Nat Love, with Rufus Buck? Loyalties, betrayals, shootouts?
6. Rufus Buck, at the opening, 20 years later, prison, pardon, the stolen money, his relationship with Trudy Smith, Cherokee Bill, the escape from the train? Killing the corrupt guards?
7. Redwood City, wily escape, the mayor, buck whipping him? Escape and the money?
8. Marshall Reeves, the arrest, capturing Love, the issues of revenge? The relationship with Cuffee? Mary, the proposal, the refusal? The buying of the saloon?
9. The action, the to-ing and fro-ing, between Nat story, Rufus Buck’s story, the deals, the love for Cuffee?
10. The wagon, the friends and betrayals, the money, the shootouts? Tesco’s death?
11. The confrontation between the women, their fighting?
12. Rufus Buck, with Love, the revelation about their father, his abuse, their being half-brothers, the shooting of the revenge? That killing Buck?
13. The end, Marshall Reeves, in control, Cuffee in support? The grave? The death of Buck, the freedom for Nat Love?