TO THE action enthusiasts who were devastated by the conclusion of John Wick: Chapter 4, there is the promise of exquisitely choreographed violence in the new entry to that film series, Ballerina.
Marketed with the tag “From the world of John Wick”, this spin-off concentrates on the exploits of Eva (Ana de Armas), a graduate of the Ruska Roma Ballet Assassins, whose director is played by Angelica Houston.
Seeking revenge for the death of her father, Eva must confront The Chancellor (Gabriel Byrne) and a whole town against her.
Lance Reddick, Ian McShane and Keanu Reeves all make cameo appearances to remind everyone of the film’s origins.
While the previous films were all directed by legendary stunt coordinator turned filmmaker Chad Stahelski, this latest entry comes from Len Wiseman, best known for the middling Underworld film series.
Hopefully the film’s producers will maintain the strong sense of worldbuilding and balletic action set pieces…pun intended.
Yet another possession-themed Hollywood film comes to cinemas in The Ritual.
Erroneously cited as being “based on the true story that inspired The Exorcist”, this film draws on several written accounts of the efforts over many years by Father Theophilus Riesinger to free a young woman named Emma Schmidt from demonic possession.
Al Pacino takes this role and plays it with an appropriately over-the-top level of zeal and a slightly unidentifiable accent, with Dan Stevens playing Father Joseph Steiger as a skeptical partner.
The question of whether the afflicted girl is truly supernaturally afflicted or simply beset by mental illness is given lip-service, but quickly falls to the side as director David Midell revels in the spooky flickering lights, tipping furniture and sudden screaming of Emma (played by Abigail Cowen).
The Great Lillian Hall is a made-for-television film that has been upgraded to a limited theatrical release.
The film is loosely based on legendary Broadway actress Marian Seldes, and depicts the titular “first lady of the American theatre” coming to terms with her encroaching dementia, even as she commits to completing her most recent play.
Led by Jessica Lange, the cast includes Pierce Brosnan and Kathy Bates in a role that won a Screen Actors Guild Award.
The performances are powerfully emotive, to the point that the film feels overwhelming at times, but they create some fertile ground to ask the question “what does art mean to the artist?”
Finally, indie crime-thriller Barron’s Cove also comes to select screens.
When Caleb (Garret Hedlund) learns that his son Barron has been killed, he kidnaps the schoolboy he holds responsible (Christian Convery).
That boy’s father turns out to be an incumbent State Senator (Hamish Linklater) who has dark secrets of his own, and mobilises local police to resolve the situation quickly – and quietly.
Bleak might not be an adequate word to describe this film’s worldview, and ultimate ending.
The performances are, across the board, pitch perfect for this kind of throwback genre piece, not leaning too hard into deep character drama but also not interested in explosive set-pieces.
This is a gritty, grimy film about gritty, grimy people who are incapable of operating in the world without resorting to violence.
It will likely struggle to find an audience, but will stick with those people brave enough to give it a go.
By Lindsay HALL
