On You Were Never Really Here

Lynne Ramsey’s forth feature is a violent, predominately aural experience with a powerful, close to silent performance by Joaquin Phoenix. The underlying theme is one of child abuse and the devastating affects this can have in later life. Phoenix’s Joe is, it is loosely hinted, a veteran of recent wars who has, indirectly caused the death of a young civilian. More vivid is the abuse Joe suffered as a child, disturbingly shown via the hands of his father, faceless but sadistic. These are the reasons for his current adult state; a hired gun who has found a niche brutally killing the abusers of children. The repeated sounds of a child counting connect Joe with Nina, a young girl he saves once from the hands of a paedophilic ring of government officials. When he comes to save her again he finds his own trauma of child abuse writ in the actions of this young girl who has herself become a violent murderer, albeit of those most deserving of death. Here, abused children become damaged adults. It is those who Joe kills (child abusers) and how he kills (with a hammer, the same tool used on him as a child) that prevents his actions from becoming unconscionable.

Although Ramsey’s film is wrought with violence that is overtly aggressive, we see very little in detail. It is the use of sound which makes this both an uncomfortable and dream like experience. Joe’s mental damage is highlighted through the layering of voices and the exaggerated background noises that intrude upon the audience and Joe’s thoughts. At other times the music is hypnotic and peaceful. It is on this latter theme that You Were Never Really Here ends. A note of hope as Nina and Joe, fresh from drinking milkshakes and a vision of suicide (another repeated image) decide it is a beautiful day.

On Annihilation

Alex Garland has been quick to express his disappointment that his latest film, Annihilation did not, in the UK, receive a cinematic release, but instead ended up on Netflix. His dissatisfaction is understandable as it is a visually impressive piece of work, but at the same time, he is working at a time when the industry is being turned upside down. Netflix are now at the table and able to compete for all titles. What has happened to Annihilation is a downside of this, but the content they produce themselves, that may not be made elsewhere, is the obvious upside.

Annihilation is haunting. Dreamlike. Hard to forget. It could be said to be within the science fiction or fantasy genre, but its approach and execution feel fresh and it would be hard to place it in either canon. Not too unlike Arrival (2016). It is a smart film, with a script that demands attention and pays it back with an ending that is unpredictable, subtle and tender, with just a hint of danger. A truly outstanding piece of work.

On Black Panther

It is not uncommon to find the villain of a piece more entertaining than the good guy. Actors have repeatedly said that villains are more fun to play as it allows them to tap into emotions and actions that would be impossible to imagine in everyday life. It is in this area where Black Panther both succeeds and fails.

The villain of the piece is Erik Killmonger, a terrible name that serves to demonise him as a reason to justify his death for justification is not found in his character. For unlike say, Batman and the Joker, the latter being more entertaining to watch, but morally corrupt and unquestionably unable to carry on, Erik is Black Panther's moral superior. He represents the struggle of black people from slavery through to the Los Angeles ghetto. He has lost his father, a man who wished to usurp the Wakanda monarchy and been punished for actions that weren't his. He has been raised by the state and fell into the army, where killing has given him life; it should be his film. Rather the film belongs to a wealthy, spoiled king in waiting who, with every disposable advantage helps others only if it helps himself. His is James Bond with a panther suit.

Of course it is good to see Marvel take their films into Africa and promote an image of heroism that has for too long dominated. But, there was a real possibility here to create a film that was radical and challenging to the American hegemony. There are scenes here which haven't been seen in the genre before, but all too many that have and Black Panther becomes the blue print that all other Marvel films fit to.

It is telling that Black Panther is absent from the film for a significant amount of time without the narrative suffering; he is a boring character. In Erik the film has created an interesting characters to try and explore the lives of young, black men in America. It is a shame that the film must ghettoise him to an extreme, and demonise his killings while serving in the army just to try and force moral corruptness on to him. And, let us not even get started on the heroism of the white, CIA agent, a member of an organisation that has sought to create instability in the continent for decades.

A missed opportunity.