Darkest Hour Before Gary Oldman

DATELINE:  Two Fine Hours

Oldman Churchill Oldman Churchill!

Gary Oldman had several makeup specialists to help him take on the dowdy appearance of an old reprobate as he played the gin-swilling, cigar-chomping temperamental British prime minister during World War II, the irascible Winston Churchill.

You might think he won Best Actor Oscar for his prosthetic achievement, but his performance is a gem—and you can almost forgive him for playing Commissioner Gordon in the Batman movies.

Joe Wright’s Churchill movie is quite different from the many others that have come and gone over the past few years. In the past you had Albert Finney, and in the distant past you had Timothy Spall and even Richard Burton. We could go on and on.

The latest version takes on a slightly different approach, lending itself to atmosphere, style, and a human touch. This Churchill’s worst enemies are his own conservative party members—and appeasing, peace at any price types who want to work things out with Hitler.

The film also takes the non-epic approach to the rescue of British soldiers at Dunkirk. That movie was the arch-rival to the Darkest Hour at the Oscars.

Kristen Scott Thomas plays wife Clemmie and Lily James does a turn as Churchill’s private secretary, but make no mistake, the bull in the china shop is Oldman, almost unrecognizable and totally convincing, perhaps with the performance of his life.

The film puts its focus on a short time when Churchill had to convince the public, and his King, that he was the man for the job. A couple of bravura scenes make the film well-worth the time, in which Churchill challenges himself to ride the subway to find how the common citizens feel, and his stirring speech that set Hitler on the road to ruin.

You can fit Darkest Hour on your DVD shelf next to The King’s Speech, as grand use of oratory skills and language during World War II.


It’s Oldman & Hardy, Not Laurel & Hardy

DATELINE:  Serial Killer in Soviet Union

Pictured: Oldman & Hardy

Oldman & Hardy


Child 44 is a brutal murder mystery. However, it is far more than the sum of its parts. It cost a pretty penny to make, extremely well-produced, but just who is the audience?

Banned in Russia, the film depicts an infamous serial killer of young boys in the Soviet Union in the early 1950s—and how several government military police investigate to undercover him. It is all the more difficult because Stalinist Russia does not recognize the concept of “murder in paradise.”

This is not entertainment in any traditional sense.

Tom Hardy continues to impress as the disgraced, but dedicated military hero. He works here with Noomi Rapace as his wife who is under suspicion as a British agent. They are hounded and forced to solve murders to save their skins.

Gary Oldman and Tom Hardy team up again, but the only fun is watching their nuanced performances in a disturbing story.

Director Daniel Espinosa does not paint a pretty picture. With its grey drab settings amid a depressing world of the Soviet regime, the film was banned in Putin’s Russia, though it probably deserves to be seen there.

What really transpires is a story of how a homicide bureau was finally established in Moscow.

Gary Oldman and Charles Dance are recognizable faces in the cast, but Philip Seymour Hoffman died before he could join them as one of the Soviet heads of the military.

If we recommend a movie like this, it is because it is striking in its utter dark vision. This is not a picture you want to view to escape dreary, rainy days.

Once again, a good film generally must have viewers who appreciate the message and the artfulness. As we progress into the 21st century of video games and shallow entertainment, intelligent and dark movies are an endangered species. This one joins the list.


It’s Not Paranoia If You’re Obsessive-Compulsive


This curio movie stars a generic leading man in a tale about businessmen with no scruples. It seems like a story we have seen on screen before. Robert Luketic directs Paranoia, but it’s more like a bad case of OCD and worse case of scriptwriting.

Liam Helmsworth is handsome and winsome. He is also vapid and canned. His New Yorker mover and shaker wants the big time, but he believes old men of today are ruthless and hold back the younger generation. Channing Tatum would have played it more convincingly with an edge.

With his killer looks and GQ body, Liam Helmsworth is a likely corporate boy-toy. He is groomed and blackmailed by one old man to be a corporate James Bond against another. We suspect he would have been singled out as a paid companion before any thought of making him an espionage agent.

The old men are the really interesting part of the movie.

Gary Oldman has about him a dangerous and smarmy quality well suited to be the corporate Henry Higgins making over his boy spy to take on the aging archenemy played by Harrison Ford in slouch mode.

These brilliant old stars have gone from being red giants to white dwarfs. It’s not like they are taking any port in a storm or any role in a movie to remain relevant, but we are still glad to see them flash their stuff. Liam Helmsworth looks like a pretty and empty Brooks Brothers gray flannel suit next to them.

Of course, someone in central casting decided to let Richard Dreyfuss play the broken down father of Helmsworth (he’s Thor’s younger brother by the way). Only in Hollywood fantasy could anyone think pipsqueak Dreyfuss could sire a Playgirl centerfold.

Put aside any thoughts of classic business tales like Executive Suite or Patterns. In fact, this is not even up to the quality of Wall Street or The Social Network. Excess in style, realism, verisimilitude, and taste, has become the new yardstick of making a movie relevant to anyone under 25.

No wonder the new generation thinks the great stars are best suited to playing doddering amoral old men.  The end of this pip is a groaner of the up-teenth magnitude.

Read more movie insights from William Russo in MOVIE MASHUP and ALFRED HITCHCOCK FRESHLY SHOWERED. All books are available at Amazon.com in softcover.

A Movie of Quality? No Smiley Face Here



Denholm’s Smiley Face

When John le Carre develops his own best-selling novel for one of those prestigious TV movies done by the BBC or their stand-in, you have to be curious.

When it turns out to be a George Smiley story, you know you may have a treat to behold. Alec Guinness and Gary Oldman have played the pedestrian spy.  Back in 1991 Denholm Elliott came up with another dead-on portrait of the man so mundane that you’d think he was an accountant, but he is deadlier and smarter than James Bond ever was.

Those familiar with the two versions of Tinker Tailor Soldier Spy know exactly what Smiley keeps under wraps.

Smiley is called out of retirement by friend (Glenda Jackson in one of her final acting roles). She sends him to a posh boys’ school where everyone knows faculty play power trip games and bolster their egos at the expense of adolescent boys.

Joss Ackland is one of those aging Byronesque faculty on the campus, and in an early role as a student is Christian Bale. As you might expect, the only difference in the earnest and focused performance of Bale then and now is that he is a teenager. Cast aside those American teenage actors; Bale is the real deal even at 16.

If you want to see the nescient actor, you won’t. Bale is fully developed from the get-go.

We must admit our fondness for non-glamorous, retired old characters that still burn with brains unused. Like the Poirot/Christie stories, LeCarre is able to give audiences a puzzle that requires thought and mature attitude for full appreciation.

This is a treat for those who deserve better.


Ossurworld’s William Russo has several movie review books that highlight the best films of all-time and of the present year. MOVIE MASHUP and ALFRED HITCHCOCK FRESHLY SHOWERED are available at Amazon.com in softcover.