Please enable javascript to view this site.

Image Image Image Image Image Image Image Image Image
Obama says pot should be treated like cigarettes and booze - New York Post https://t.co/Kq3YrDAWiC

William Monahan Archives - ShowBizCafe.com

William Monahan Archives - ShowBizCafe.com

Karen Posada

By

2010/05/11 at 12:00am

Edge of Darkness

05.11.2010 | By |

Rating: 3.0

Rated: R for strong bloody violence and language.
Release Date: 2010-01-29
Starring: William Monahan, Andrew Bovell
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://edge-of-darkness.warnerbros.com/

 Go to our film page

Edge of Darkness‘ was directed by Martin Campbell (Casino Royale) who also directed the English mini-series from the 80’s with the same title on which the movie is based on. Not being familiar with the mini-series I thought the previews had given too much away and I could guess the outcome of it. I was wrong. There are many surprising moments and twists that have you guessing and wanting to know more. The story unfolds nicely and though at times it is hard to understand Gibson’s mumbles as well Winstone’s english accent, I enjoyed the thrilling ride.

This is the story of a Boston police investigator in the quest to find out who brutally shot his daughter and the reason why. Thomas Craven (Mel Gibson) is a widowed parent who has a estranged relationship with his only daughter Emma (Bojana Novakovic), he seems to love her deeply but know very little about her life. Once she’ shot he’s got nothing to loose and decides to put justice in his own hands. On his road to finding his daughter’s killer he opens up a can of worms and finds himself in the middle of a big corporation/governmental plot. In this quest he ends up getting to know his daughter more than he did when she was alive and finds that her principals were just what he taught her. A professional killer (Ray Winstone) sent to kill Craven proves to be his only ‘friend’ through his dilemma, a character that complements him well. Craven states the premise of the movie perfectly ” you had better decide whether you are hanging on the cross or banging in the nails”, this is exactly what the film makes us think of as we are introduced to new settings and characters.

The one thing that bothered me about the film were the moments where Craven hallucinates hearing and seeing his daughter as a child and an adult, there was no need to play the crazy card; his irreparable pain was enough and his misplaced anger worked to show it. Craven acting as a superhero for the later part of the film would have bother me except that knowing he’s a father that finds himself on ‘the edge of darkness’ and his only purpose is to revenge his daughter’s death lets me accept his ‘superpowers’.

Gibson’s words from our interview resonated as the movie continued, I got the connection he made to Jacobean tragedies and this film and you will too. It is a film that does make you think about how much power the government and how little we may be able to do about it. For those that know the series they might not find it as appealing as they already expect the shocking moments but it may appeal to them to see it under a new light. At some points the thought provoking plot does get in the way of the action but the moments of surprise make it worth it.

Karen Posada

By

2010/01/29 at 12:00am

Edge of Darkness

01.29.2010 | By |

Edge of Darkness

Edge of Darkness‘ was directed by Martin Campbell (Casino Royale) who also directed the English mini-series from the 80’s with the same title on which the movie is based on. Not being familiar with the mini-series I thought the previews had given too much away and I could guess the outcome of it. I was wrong. There are many surprising moments and twists that have you guessing and wanting to know more. The story unfolds nicely and though at times it is hard to understand Gibson’s mumbles as well Winstone’s english accent, I enjoyed the thrilling ride.

This is the story of a Boston police investigator in the quest to find out who brutally shot his daughter and the reason why. Thomas Craven (Mel Gibson) is a widowed parent who has a estranged relationship with his only daughter Emma (Bojana Novakovic), he seems to love her deeply but know very little about her life. Once she’ shot he’s got nothing to loose and decides to put justice in his own hands. On his road to finding his daughter’s killer he opens up a can of worms and finds himself in the middle of a big corporation/governmental plot. In this quest he ends up getting to know his daughter more than he did when she was alive and finds that her principals were just what he taught her. A professional killer (Ray Winstone) sent to kill Craven proves to be his only ‘friend’ through his dilemma, a character that complements him well. Craven states the premise of the movie perfectly ” you had better decide whether you are hanging on the cross or banging in the nails”, this is exactly what the film makes us think of as we are introduced to new settings and characters.

The one thing that bothered me about the film were the moments where Craven hallucinates hearing and seeing his daughter as a child and an adult, there was no need to play the crazy card; his irreparable pain was enough and his misplaced anger worked to show it. Craven acting as a superhero for the later part of the film would have bother me except that knowing he’s a father that finds himself on ‘the edge of darkness’ and his only purpose is to revenge his daughter’s death lets me accept his ‘superpowers’.

Gibson’s words from our interview resonated as the movie continued, I got the connection he made to Jacobean tragedies and this film and you will too. It is a film that does make you think about how much power the government and how little we may be able to do about it. For those that know the series they might not find it as appealing as they already expect the shocking moments but it may appeal to them to see it under a new light. At some points the thought provoking plot does get in the way of the action but the moments of surprise make it worth it.

Mack Chico

By

2009/02/17 at 12:00am

Body of Lies

02.17.2009 | By |

Rating: 3.0

Rated: R for strong violence including some torture, and for language throughout.
Release Date: 2008-10-10
Starring: William Monahan, David Ignatius (novela)
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://bodyoflies.warnerbros.com/

 Go to our film page

Three years ago, Ridley Scott‘s ill-conceived epic Kingdom of Heaven implicitly asked the question, “What would a movie about the Crusades look like if everyone in it had a 21st-century ideological outlook?” (The unsurprising answer: It would look nothing at all like the Crusades.) With Body of Lies, Scott once again turns his eye to conflict in the Middle East, though this time he wisely keeps his moral and historical frames in present-day alignment. The result is a film that, while far less muddled, still doesn’t have much new to say.

 

A former journalist Roger Ferris (Leonardo DiCaprio) injured in the Iraq war is hired by the CIA Ed Hoffman (Russell Crowe) to track down an Al Qaeda leader in Jordan. The movie jumps from London to Iraq to Washington to Amsterdam to Jordan, Dubai, Turkey, and Syria with box-checking diligence. There are betrayals and kidnappings and rogue operations and collateral damage. Things are not infrequently blown up. The elements of the film, in other words, will be reasonably familiar to anyone who saw Syriana or The Kingdom or Traitor or Spy Game.

 

The script, adapted by William Monaghan from a novel by Washington Post columnist David Ignatius, shrewdly sticks to shades of gray; those waiting for a stark double cross that will reveal the movie’s true villain will wait in vain. DiCaprio and Crowe deliver their customary quality, even if neither shows us anything terribly fresh. (I, for one, look forward to the next role in which DiCaprio doesn’t feel a scruffy goatee is needed to confirm his postpubescence.) But the movie’s true revelation is Syriana vet Strong, who plays head of Jordanian intelligence Hani Salaam. Trim and elegant in narrow pinstripes, Salaam is crafty, charismatic, and sophisticated, with an odd but charming insistence on referring to male colleagues as “my dear.” He is a man capable of brutality when it is required, but glad to avoid it when it is not. A scene in which he administers a carrot to an al Qaeda suspect in place of the anticipated stick is perhaps the best in the film.

 

Scott directs with characteristic panache–the rapid editing and varied camera speeds, a delight in aerial surveillance shots evidently inherited from brother Tony’s Enemy of the State— but as in Kingdom of Heaven his aesthetic and political purposes are in tension: How upset can we be about a deadly explosion when Scott has labored so mightily to make it look cool? Though evidently intended to straddle the divide between action thriller and geopolitical fable, when pushed, Body of Lies tumbles into the former genre. (Its chief bid at seriousness, a confrontational colloquy with the top terrorist near the end of the film, comes across as the awkward regurgitation of a hastily swallowed subscription to The Economist.) In the end, it is an above-average entertainment, though not a terribly memorable one. By contrast, a sequel following the exploits of spymaster Hani Salaam, the George Smiley of Jordan–now that, my dear, would be something to see.

Mack Chico

By

2008/10/10 at 12:00am

Body of Lies

10.10.2008 | By |

Rated: R for strong violence including some torture, and for language throughout.
Release Date: 2008-10-10
Starring: William Monahan, David Ignatius (novela)
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://bodyoflies.warnerbros.com/

Go to our film page

Body of Lies

 

Three years ago, Ridley Scott‘s ill-conceived epic Kingdom of Heaven implicitly asked the question, “What would a movie about the Crusades look like if everyone in it had a 21st-century ideological outlook?” (The unsurprising answer: It would look nothing at all like the Crusades.) With Body of Lies, Scott once again turns his eye to conflict in the Middle East, though this time he wisely keeps his moral and historical frames in present-day alignment. The result is a film that, while far less muddled, still doesn’t have much new to say.

 

A former journalist Roger Ferris (Leonardo DiCaprio) injured in the Iraq war is hired by the CIA Ed Hoffman (Russell Crowe) to track down an Al Qaeda leader in Jordan. The movie jumps from London to Iraq to Washington to Amsterdam to Jordan, Dubai, Turkey, and Syria with box-checking diligence. There are betrayals and kidnappings and rogue operations and collateral damage. Things are not infrequently blown up. The elements of the film, in other words, will be reasonably familiar to anyone who saw Syriana or The Kingdom or Traitor or Spy Game.

 

The script, adapted by William Monaghan from a novel by Washington Post columnist David Ignatius, shrewdly sticks to shades of gray; those waiting for a stark double cross that will reveal the movie’s true villain will wait in vain. DiCaprio and Crowe deliver their customary quality, even if neither shows us anything terribly fresh. (I, for one, look forward to the next role in which DiCaprio doesn’t feel a scruffy goatee is needed to confirm his postpubescence.) But the movie’s true revelation is Syriana vet Strong, who plays head of Jordanian intelligence Hani Salaam. Trim and elegant in narrow pinstripes, Salaam is crafty, charismatic, and sophisticated, with an odd but charming insistence on referring to male colleagues as “my dear.” He is a man capable of brutality when it is required, but glad to avoid it when it is not. A scene in which he administers a carrot to an al Qaeda suspect in place of the anticipated stick is perhaps the best in the film.

 

Scott directs with characteristic panache–the rapid editing and varied camera speeds, a delight in aerial surveillance shots evidently inherited from brother Tony’s Enemy of the State— but as in Kingdom of Heaven his aesthetic and political purposes are in tension: How upset can we be about a deadly explosion when Scott has labored so mightily to make it look cool? Though evidently intended to straddle the divide between action thriller and geopolitical fable, when pushed, Body of Lies tumbles into the former genre. (Its chief bid at seriousness, a confrontational colloquy with the top terrorist near the end of the film, comes across as the awkward regurgitation of a hastily swallowed subscription to The Economist.) In the end, it is an above-average entertainment, though not a terribly memorable one. By contrast, a sequel following the exploits of spymaster Hani Salaam, the George Smiley of Jordan–now that, my dear, would be something to see.

Select a Page