Long Shot

Unlike previous US Presidential romantic comedies, this one is about a woman President, or more accurately a woman Secretary Of State campaigning to be the next President. Charlotte Field (Charlize Theron) is savvy, smart and glamourous but has compromised the hard green environmentalist principals of her youth in order to attain political power. Meanwhile, poor and idealistic investigative journalist Fred Flarsky (Seth Rogen) has just been fired for an article which spoke out against powerful businessman and anti-environment political lobbyist turned publisher and Fred’s new employer Parker Wembley (Andy Serkis under a ton of self-designed make-up).

Charlotte and Fred have a shared past. When she was his teenage babysitter he had a crush on her. He also admirer her idealistic campaigning for school president. But now, she’s one of the world’s most powerful women while he’s an anorak on the rocks.

Out of a job and wallowing in self-pity, Fred is dragged by best mate and positive thinking, self-made entrepreneur Lance (O’Shea Jackson Jr.) to a posh event where the band Boyz II Men are playing. Charlotte is also there, doing her best to avoid Wembley who wants to bend her ear about some issue on which she takes an opposing view. Fred and Charlotte collide. Later, to the horror of her Chief Of Staff Maggie (June Diane Raphael) and ‘Body Man’ Tom (Ravi Patel), Charlotte tries Fred out then offers him a position as a speechwriter. This means he’ll be travelling around the world with her and her small team.

The clever screenplay by Liz Hannah – who wrote The Post (Steven Spielberg, 2017) as a spec script – and Dan Sterling – who cut his teeth writing episodes of dirty favourite animated series South Park and King Of The Hill – puts together an unlikely couple who, as it turns out, have a great deal more in common than either of them ever imagined. Journalists will be sympathetic to a script which gets inside some of the struggles of the writing process, although Hannah and Sterling wisely never get bogged down in such details. Offering some insight into the everyday working and living conditions of a high flying politician, they’re also not afraid to steer into implausible if hilarious high farce, such as when Fred takes Charlotte out at her request to “get wasted”, after which she must handle an international crisis while coming down from a drug high.

Comedy is notoriously the most difficult movie genre to pull off successfully. Although a strong script is key, much of this film’s success is also due to the casting and direction. It’s hard to imagine Fred played by anyone other than Seth Rogen, who manages to invest the character with not only a certain journalistic integrity but also the sort of nerdiness that has him wearing plastic raincoats and looking the very opposite of presentable. Theron may be known as a major acting talent, but her abilities and sense of timing as a comedian turn out to be astonishing. The rest of the cast, which includes a fair number of significant bit parts, impress too. And holding it all together is Levine, who previously directed cancer comedy 50/50 (2011) with Rogen and current producer Evan Goldberg. Long Shot is not a director’s film, it’s very much a collaborative piece utilising a variety of different talents. All of them, happily, possess the same vision. The result proves surprisingly effective on many levels.

Given the current state of things in the US with its humourless, right-wing, anti-environmentalist, post-truth President, there’s something refreshing about seeing a lightweight piece of entertainment which posits a capable woman setting out to take over the job from the current male incumbent and bringing in outsiders to enable her to push deeply held, pro-environment ideals. Recent developments in the UK with David Attenborough’s BBC show Climate Change – The Facts, the ongoing Extinction Rebellion protests in London and Greta Thunberg speaking to the UK Parliament may well mean the timing of its UK release couldn’t be better.

Long Shot is out in the UK on Friday, May 3rd. Watch the film trailer below:

Star Wars: The Last Jedi

Where The Force Awakens (J.J.Abrams, 2015) felt like a lazy reworking of Star Wars (George Lucas, 1977), The Last Jedi feels like a clever reverse engineering of The Empire Strikes Back (Irvin Kershner, 1980). It starts off with rebels fleeing a planet base under attack from the First Order under the command of General Hux (Domhnall Gleeson) and ends with another rebel base being attacked on the surface of another planet, this one covered in white, and being besieged by the ultimate land-based weapon.

In between, Rey (Daisy Ridley) trains on yet another planet with Jedi master Luke Skywalker (Mark Hammill) and must confront not only her nemesis Kylo Ren (Adam Driver) who has gone over to the dark side of The Force under tutelage from Supreme Leader Snoke (Andy Serkis) but also her own darker self. Meanwhile, renegade pilot Poe Dameron (Oscar Isaac) falls out with the top brass of Leia (the late Carrie Fisher) and Vice Admiral Amilyn Holdo (Laura Dern) to initiate a bold plan to save the rebel fleet from impending disaster. Thus, Finn (John Boyega) and maintenance worker sidekick Rose Tico (Kelly Marie Tran) embark on a daring mission and find thief/codebreaker DJ (Benicio Del Toro) who gains them unseen entrance to an enemy base to disable some technology and facilitate the rebel fleet’s escape and survival.

These are all, more or less, loose reworkings of the constituent elements of The Empire Strikes Back but to his immense credit writer-director Johnson (Looper, 2012) takes that film apart apart and reassembles its parts in a fresh, original and constantly inventive way for The Last Jedi. His crew includes longtime Tim Burton collaborator and visionary production designer Rick Heinrichs – which helps considerably and probably accounts for much of the visual panache. To take the most obvious example: the pressure of skates fitted under aircraft to help them traverse the finale’s salt flats landscape leaves red trails on white to produce an extraordinary visual spectacle.

Spectacle is one of the many things the Star Wars franchise is about. You’re taken to new places (planets, locations, spaceship interiors) you haven’t seen before, there are unfamiliar creatures and cultures. Thanks to some deft writing here the new film explores of some of the darker areas and mysteries of the cod-religious philosophy underlying the series. Without ever descending to the level of risible, The Last Jedi is prepared to laugh at itself: witness the potentially irritating bird-like characters on Luke Skywalker’s island home, one of whom ends up as Chewbacca’s lunch or the ongoing tension between Rey, inflicting damage on buildings while training, and the same island’s walking, fish-like, caretaker creatures. But such levity is wisely never allowed to be more than a minor sideshow to the main narrative through lines.

The visual effects on display effortlessly push the boundaries of what we’ve seen in the movies (watching on a huge digital IMAX screen is recommended) and deserve to receive the Oscar in that category. The big space battle set pieces impress even by Star Wars series standards, which is pushing the bar pretty high. However all effects at the service of Johnson’s vision and he’s much more interested in maintaining the integrity of the franchise’s characters, old and new, and extending and developing the mythology underpinning the series than in effects for effects sake. As in Looper, he demonstrates that he knows how to tell a rattling good yarn.

The are so many impressive ingredients in The Last Jedi that it’s impossible to cover them all in a review for DMovies. I will just note that the movies have come a long way in the 40 years the franchise has been running. In Star Wars, the film’s only significant female presence Carrie Fisher was essentially a damsel in distress, albeit one wielding a blaster. Nowadays, she’s the commander of the fleet and no-one bats an eye at a film where an out of control flyboy ace is a thorn in the side of cool headed, female admirals, where an engineer is as likely to be a woman as a man and where the Jedi heroine is given pole position in the plot where she may or may not succumb to the dark side of The Force. There’s no denying The Last Jedi is an audience pleaser [how could it not be? – well, see reactions to Return Of The Jedi (Richard Marquand, 1983) and the trilogy that followed it] but it’s also, happily, a remarkable achievement on many, many levels.

Star Wars: The Last Jedi is out in the UK on Thursday, December 14th. Watch the film trailer below: