Director: Guy Ritchie Cast : Jason Statham, Holt McCallany, Jeffrey Donovan, Josh Hartnett, Laz Alonso, Raúl Castillo, Scott Eastwood, Niamh Algar, Rob Delaney, Eddie Marsan, Andy Garcia Genre: Action/Thriller Run Time : 119 min Opens : 29 April 2021 Rating : M18
There’s something exciting about an armoured truck full of cash that filmmakers can’t resist. 2009’s Armoured was a caper centred around an armoured truck crew, and an unrelated film of the same name is set to be produced by Michael Bay. Films like The Heat and The Town have memorable armoured truck-centric set-pieces. Now, Guy Ritchie and Jason Statham take the wheel.
Patrick “H” Hill (Jason Statham) is a mysterious new employee at Fortico Security, an armoured truck company operating in Los Angeles. Every week, Fortico transports millions of dollars around the city. Bullet (Holt McCallany) teaches H the ropes. During an attempted robbery, H showcases formidable skills, indicating he is overqualified for the job. He crosses paths with a gang of ex-military personnel-turned-robbers. H is on a path of vengeance, and soon, the reason for this becomes clear.
Based on the French Film Le convoyeur (Cash Truck), Wrath of Man is a solid, muscular action thriller that makes good use of both director Ritchie and star Statham’s strengths. There are some brutal action sequences, and the production design of the armoured car depot is quite striking. Wrath of Man often feels beefy and substantial, when many mid-budget action movies can feel somewhat lacklustre and pack too little of a punch. The movie manages to build intrigue in its first half; it’s too bad that the trailers give away the reveal of why exactly H is working for Fortico. The ever-dependable Holt McCallany is especially charismatic, threatening to steal the show from Statham at times. Wrath of Man escapes the feeling of being confined to direct-to-streaming and fits well on the big screen.
The movie is oozing with a bit too much machismo for its own good. The screenplay by Ritchie, Ivan Atkinson and Marn Davies is crammed with dialogue that strains too hard to sound tough and badass, sometimes bordering on self-parody. There doesn’t seem to be much to any of the characters except H. A cameo by Post Malone threatens to pull one out of the movie. Scott Eastwood’s villainous character is also a non-entity, with Eastwood having little screen presence compared to Statham and McCallany. The film is also ultimately generic and attempts to conceal this with some fairly clever structural shuffling. The movie is also divided into chapters, which, together with the title, can’t help but come off as a bit pretentious for what is mostly a meat-and-potatoes action thriller.
Wrath of Man reunites star Statham and director Ritchie, who burst onto the scene in the 90s with Lock, Stock and Two Smoking Barrels and Snatch but haven’t collaborated since 2005’s widely-panned Revolver. This is not one of Ritchie’s more self-indulgent films; his signature combination of “toff guy” (the name of his production company) schtick and self-aware humour is toned down a little here. It seems like Ritchie is channelling Michael Mann, sometimes successfully. Statham isn’t an actor with a lot of range, but he is watchable doing what he does best. The pair will next collaborate on the spy thriller Five Eyes, currently in production.
Summary: Wrath of Man sees Guy Ritchie and Jason Statham doing what they do best. It’s not quite as cool as it thinks it is and sometimes has a whiff of self-importance about it. Overall though, this is a solid, intense action thriller that doesn’t quite feel as disposable as the typical action movies of the week we’ve been getting on streaming.
Director: Ilya Naishuller Cast : Bob Odenkirk, Connie Nielsen, RZA, Christopher Lloyd, Aleksei Serebryakov, Gage Munroe, Paisley Cadorath Genre: Action/Thriller Run Time : 92 min Opens : 22 April 2021 Rating : NC16
What if Bob Odenkirk of Mr Show and Better Call Saul fame were the world’s greatest badass? That’s the premise of this action thriller, and it’s easier to buy than one might think.
Hutch Mansell (Bob Odenkirk) is a mild-mannered family man who works at a construction company owned by his father-in-law – a “nobody”. Hutch lives an ordinary existence with his wife Becca (Connie Nielsen) and their two children, Blake (Gage Munroe) and Sammy (Paisley Cadorath). A home invasion incident in which Hutch appears to fail to protect his family seems to cement his milquetoast status. However, when drunk gangsters threaten a woman on a bus, something within Hutch is unleashed and he takes them on. One of the gangsters is the younger brother of Russian crime lord Yulian (Aleksei Serebryakov), who oversees the Russian mafia’s investments. Hutch suddenly becomes a target of Yulian. Hutch’s half-brother Harry (RZA) and their elderly father David (Christopher Lloyd) also get drawn into the fray. Yulian and his men get more than they bargained for as they tangle with whom they assumed was just a nobody.
Nobody is an excellent action movie. It’s visceral, the action is brutal and well-staged without being overly stylised, there’s an energy and wit to the direction, and it has a leading man with surprise on his side. Director Ilya Naishuller helmed Hardcore Henry; the first feature-length action movie shot entirely from a first-person point of view. Nobody is much more conventional and polished but has just enough of that guerrilla vibe when it counts.
The John Wick connection is heavily played up in the movie’s promotional material, with the first movie’s co-director David Leitch on board as a producer, and all three films’ screenwriter Derek Kolstad on scripting duty. There is enough of a John Wick vibe here, while letting the movie be enough of its own thing. The supporting cast is great, especially when RZA and Christopher Lloyd show up. The movie has a sense of humour without that getting in the way of the action’s impact. “A better version of a direct-to-DVD movie” might seem like a back-handed compliment, but that’s a good description of Nobody. There’s a version of this that could have been completely workmanlike and dull, so it’s a treat that it did not end up that way.
Nobody is mostly riding on the novelty of Odenkirk in the lead. Take that away, and many of its constituent parts are generic. Major components of the movie seem copy/pasted from the first John Wick, especially the villain Yulian. In John Wick, the hero is attacked by a Russian mob boss’ son, while in Nobody, it’s a Russian mob boss’ younger brother. Connie Nielsen gets very little to do, the Becca character relegated to the role of “the wife” as so many similar characters in similar movies have been before. There are perhaps a few too many ironic needle drops, with songs like “What a Wonderful World,” “The Impossible Dream” and “You’ll Never Walk Alone” underscoring violent sequences. It’s during these moments that the movie gets a bit too smart alecky.
Nobody is wish fulfilment in the way many action movies of the 80s and 90s were. What if everyone thought you were lame, but you were secretly an awesome tough guy? The movie leans just enough into the initial absurdity of its premise, without winking too hard at the audience. The thing about the action stars of yore were Arnold Schwarzenegger, Sylvester Stallone, Jean-Claude Van Damme or Dolph Lundgren couldn’t blend into a crowd. Bob Odenkirk could. His performance in this film is a glimpse at what things could’ve been like if Bruce Willis, who also came from a comedy background, still made an effort. The closest analogue to this is the string of late-career Liam Neeson action movies, but even then, he was already known for serious roles. It might seem like a big ask for audiences to accept Saul Goodman as John Wick, but Odenkirk puts in the work. He trained for two years to perform his own stunts, and it pays off.
Summary: Casting an actor who’s not known as an action star as the lead in an action movie is a gamble. In Nobody, it not only pays off, but it makes the action-thriller one of the most entertaining genre entries in recent memory. Genre aficionados will get a good action movie, and on top of that, you get Bob Odenkirk as you’ve never seen him before.
Director: Simon McQuoid Cast : Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Max Huang, Chin Han, Joe Taslim, Hiroyuki Sanada, Sisi Stringer Genre: Action/Adventure/Fantasy Run Time : 110 min Opens : 8 April 2021 Rating : M18
In 1992, the arcade game Mortal Kombat, created by Ed Boon and John Tobias, became a defining entry in the fighting game genre. The franchise has courted controversy and had a presence in every conceivable form of media, including two theatrically released movies in the 90s. Mortal Kombat returns to the big screen in this reboot.
MMA fighter Cole Young (Lewis Tan) bears a mysterious dragon-shaped birthmark, indicating that he is descended from a line of legendary fighters. Cole is targeted by Shang Tsung (Chin Han), the demon sorcerer of Outworld, who has sent Sub-Zero (Joe Taslim) in pursuit of Cole. Bi-Han/Sub-Zero, who can control ice, has a long-running rivalry with Hanzo Hasashi/Scorpion (Hiroyuki Sanada), whom he apparently killed centuries earlier. After he is discovered by Special Forces operatives Sonya Blade (Jessica McNamee) and Jax (Mehcad Brooks), Cole is transported to Lord Raiden’s (Tadanobu Asano) temple. Training alongside Shaolin warriors Liu Kang (Ludi Lin), Kung Lao (Max Huang) and the loose cannon mercenary Kano (Josh Lawson), Cole prepares to represent Earthrealm against combatants from Outworld in a mythical tournament – a tournament called Mortal Kombat.
The people who made this movie seem to have a handle on what the fans want. They might not exactly get there, but there is an eagerness to please that is evident in the film. The iconography associated with the games and the characters is treated with a degree of reverence, even as the movie never takes itself too seriously, despite initial concerns to the contrary. Even the most devoted Mortal Kombat fans are hard-pressed to deny that there is a lot of campiness and silliness in the source material, and the movie is often entertainingly silly. The Benjamin Wallfisch score includes variations of the iconic original “Techno Syndrome” theme by Oliver Adams; Wallfisch’s reworking of the theme was reportedly used by director Simon McQuoid to recruit his cast.
The stunt team, led by supervising stunt coordinator Kyle Gardiner, stunt coordinator Jade Amantea and fight coordinator Chan Griffin, assemble action sequences that are plentiful and generally well executed. Many of the actors involved have a martial arts background, which helps. Unlike the two 90s films, this Mortal Kombat movie has an R (M18 in Singapore) rating, meaning it can revel in the grisly violence that is the games’ trademark. The fatalities are graphic, but probably what long-time fans of the game would consider tame. Still, we go to a Mortal Kombat movie for the fighting scenes, and there are lots of those.
Making a coherent narrative feature film that makes good use of the expected Mortal Kombat roster was always going to be a challenge. Unfortunately, this movie is sometimes stuck in a no man’s land – neophytes might feel kept at arm’s length by the unwieldy exposition and certain preposterous elements that fans will accept, while hardcore fans might feel that something’s missing. This is tricky to calibrate for any movie based on an existing property. McQuoid tosses in Easter Eggs, and the movie seems to fall back on “look, there’s that thing you like!” a little too often.
Mortal Kombat wants to be epic, and it often falls short. While the fights do look good, the movie overall lacks the visual grandeur and spectacle associated with the settings of the games. We never really get a good sense of the stakes, and for a story in which the fate of the world hangs in the balance, things often feel too casual. There are times when the movie feels like a weird underdog sports story, with the team of screw-ups trying to take down the reigning champs. The B-movie feel of Mortal Kombat works against it almost as often as it works for it.
Most of the casting works well, with Joe Taslim and Hiroyuki Sanada being the highlights. Taslim, best known for The Raid and who crossed over into Hollywood with Fast and Furious 6 and Star Trek Beyond, lends Sub-Zero an icy resolve. Sanada always has gravitas to spare and imbues Scorpion with power and grief.
The Cole character is the source of many Mortal Kombat fans’ reservations going into this. Cole is clearly meant to be an entry point for those unfamiliar with the franchise and very much is a bland, standard issue ‘chosen one’ protagonist who can feel like a fan fiction self-insert character. While Lewis Tan is an adept martial artist and is very handsome, he doesn’t have a lot of screen presence.
Jessica McNamee makes for a good Sonya Blade, essaying the right amount of toughness without it crossing over into parody. Josh Lawson’s Kano is the designated comic relief, and Lawson seems to be having a lot of fun in the role, making multiple pop culture references (but only to Warner Bros-owned properties). The character does border on grating, though.
Ludi Lin’s turn as Liu Kang is almost too earnest at first, but he ably captures the archetypical martial arts movie hero nature of the character. Max Huang’s Kung Lao is a lot of fun, and there are some fun gags involving his metal hat. Tadanobu Asano’s Raiden is disappointing, as he lacks both the sense of authority and dash of mischief that is crucial to the character.
Aside from Sub-Zero, the Outworld characters are a bit underwhelming. Chin Han’s Shang Tsung skulks around and glowers a lot and gives supervillain speeches but is rarely ever genuinely menacing.
Summary: Video game movies have had a spotty track record, and while Mortal Kombat is far from the worst of the bunch, it’s also not the saviour of the genre some might have hoped it to be. There’s a lot to like, some of the casting is amazing and it’s filled with watchable fights, but the movie feels fragmented and struggles to build its sprawling world. Imagine Scorpion’s kunai, stopping a good distance short of its target.
When one thinks of Westerns, open, dusty plains and the late 19th Century American frontier usually come to mind. Concrete Cowboy is a Western of a different stripe: as its title suggests, its setting is a contemporary urban environment.
Idris Elba stars as Harp, a cowboy who is part of the Fletcher Street Riding Club in a Northern Philadelphia town. Caleb McLaughlin, best known as Lucas on Stranger Things, plays Harp’s estranged son Cole. After he gets kicked out of school for fighting, Cole is sent to live with Harp, and the troubled young man is gradually inducted into the unique urban cowboy way of life.
Concrete Cowboy is based on the novel Ghetto Cowboy by Greg Neri and is directed by Philadelphia-based filmmaker Ricky Staub. Staub was inspired to research the Fletcher Street Riding Club, a nonprofit city horsemanship organisation, when he looked out his office window and saw a horse and buggy rolling down the street. The movie shines a light on the little-known subculture of modern-day Black cowboys scattered across America, and real-life members of the Fletcher Street Riding Club appear in the movie. The film also stars Jharrel Jerome, Lorraine Toussaint and Clifford “Method Man” Smith.
Elba is also a co-producer on the film, alongside Lee Daniels, creator of the TV series Empire and director of films including Precious, The Butler, and The United States vs Billie Holliday.
The film’s soundtrack, which The Hollywood Reporter calls “a soulful score with subtle Western accents,” is composed by Kevin Matley, whose credits include the documentaries Kifaru and Mudbloods and the short films Still Here and The Cage. Matley’s work can be heard in commercials for brands including Apple, Google, Microsoft, Facebook, Coca Cola, Ferrari and Adidas.
Speaking exclusively to F***, Matley shared about capturing the sound of the Fletcher Street Riding Club, creating a Western score while avoiding the cliches associated with the genre, his childhood interest in film music, what it was like collaborating with director Staub, and what he’s working on next.
F*** MAGAZINE: Hi, Kevin, thank you so much for speaking to us, please tell us about how you came to be involved in this film.
KEVIN MATLEY: I came to work on the film because the director and I go way back, we’ve worked on a handful of projects together, [including] a short film that did fairly decent in the festival circuit. And he sent me the script and I loved the concept; I fell in love with the story. Ricky Staub is the director and he co-wrote it with Dan Walser, one of the producers of the film. How would you describe your working relationship with Ricky Staub and how different was it going from a short to a feature; as I understand, this is his first feature?
Yeah, it’s funny, it was actually just kind of like an extended version. I mean we really connected right off the bat, when we started working together. He has a very keen sense of what he likes and doesn’t like, and I have gotten to know over the years of working with him pretty quickly what he doesn’t like, which is really, really helpful. And so, my process is I would write these little vignettes and pieces and send it to him, and then we slowly kind of work back and forth until it was something that we both really liked. That was pretty much the whole trajectory of the score, [it] was just a lot of back and forth, a lot of conversation.
You’ve worked on several documentaries. What are the differences in composing for narrative features versus a documentary?
I’m not sure if I have too much of a difference in my approach. Obviously, each film has a different musical genre, a different sort of world or creating different tones and temperatures, but I think that my goal is always to enhance and express the sort of unspoken emotion of the characters and let their dialogue tell the viewer what they’re thinking, and I tell them what they’re feeling. And so, real or fake, fiction, nonfiction, comedy, action, drama I think my approach is always the same: how do I tell the story of the film through music?
Growing up, what made you interested in becoming a film composer?
It’s funny, I got into it really before you could just Google and find out names of composers. I was pretty young, so I started arranging some music with my brother’s guitars when I was pretty young, and sort of fell in love with the idea of creating music that way. And then, I started to notice music in film around the same age. I would actually pay less attention to the narrative, and more attention to how the music was affecting the characters and how it was affecting me. And I just really love the idea of how music and narrative together could create something so powerful.
So you were already interacting with movies as a composer might.
Yeah, long before I knew how to write music [laughs].
One of the things that Concrete Cowboy is about is how it’s important as a young person to have a community around you; oftentimes a community made up of people who have similar hobbies and interests to you. Was that something that you had with other composers or musicians growing up?
That’s a really good question. Really nothing, I mean, composers are kind of a mixed bag of people. I have my little hobbies and interests and composers that I know are interested in many different things. I think for me personally, as a music writer and just kind of an obsessive personality, I have to have things that sort of distract me from that so I can step away. I really love playing golf, I love photography, I love American football. And so, I think all of us composers are kind of similar in that, where we have to have things that can take our mind off of making music, so I think that’s probably a good similarity between all of us.
Concrete Cowboy is set in a very interesting subculture that not a lot of people know about. How did you sonically capture the world of the Fletcher Street Riding Club?
Great question. I really wanted to have a score that not only spoke to the emotion of the characters and what they were feeling, but also one that created the same world that Ricky was creating aesthetically. Ricky’s style is very visceral and very surreal and also very gritty, and so I wanted music that matched that. I wanted kind of a lush ambient sound with organic human[ity], just raw emotion on top of it. And to me, I think that that is that world, there’s so much passion with those people and what they’re doing with helping kids to get off the streets. And it’s just an amazing, amazing culture.
When we think of a Western a particular sound and style of music comes to mind and Concrete Cowboy is not a conventional Western. How did you play with that expectation in the music that you composed for this film?
Yeah, also a great question. We kind of went through a few different styles before we landed on what was actually working. What we didn’t want to have was a traditional Spaghetti Western sound – I kind of toyed with that a little bit and it ‘cheesifies’ things.
You didn’t want it to get too pastiche.
Yeah, we didn’t want it to be cliche or kind of kitschy so we ended up trying to focus more on these people as human beings, and just aesthetic and visuals, and create that world and not think about “What are we trying to force here with this being a cowboy world?”
I listened to the score and I love the melancholic dignity in the horns.
Oh, thank you!
You’re welcome. I feel like that reflects how the Fletcher Street Riders are like the last of their kind, there’s kind of a twilight, because their way of life is being threatened by gentrification. Could you tell us about how you arrived at that?
I love that you said that; that’s really, really cool.
It’s funny, a lot of the [score is] kind of focused on solo instruments. I feel like there’s a vulnerability to that that I was really after. There’s just something about trumpet in particular that to me is just so soulful, it’s almost like a voice, and I really wanted something like that, that I could use throughout the film.
Concrete Cowboy is a film about a father-son relationship, and it’s also about the bonds that humans form with animals. How did you express these themes in the music?
I think I was focused mostly on the father-son relationship. I really wanted the melodies to have, like what you said, sort of a melancholy feel to them. Cole comes from essentially a broken family and I think that there’s a lot of vulnerability to him, he’s sort of drawn into these two worlds: a life of crime, and then this other life that is giving him hope. To me, I just wanted melodies and instrumentation that reflected that.
The movie had its premiere at the Toronto International Film Festival in September 2020. Was the music recorded under lockdown conditions and if so how did you navigate that logistically?
It was actually all recorded before lockdown. It’s funny, we, we recorded the score in January of 2020, in Seattle, Washington, and I did a handful of more sessions and at that point, we had been hearing what was going on in China, then when we went down to Burbank to finish the post, the news was starting to break out and I think a handful of cases broke out in Washington around that time. When I flew home, the film was completely wrapped and that’s when everything sort of broke out.
Have you been working on other film projects during lockdown?
I haven’t been working on film projects, but I’ve just been focusing on a lot of family time, and then writing some personal records.
What kinds of films do you hope to work on in the future, are there any specific genres or styles that you’d like to work in?
Well I will tell you one that I am going to work on it’s, it’s a documentary [called Between the Rains] about these two Kenyan tribes that have been at war for the last couple of decades, and it follows a young boy from one of the tribes, basically being raised as a warrior, and he’s just not a warrior, and it deals with global warming and the water runs out and they’re fighting over that. And it’s just a really powerful documentary and it’s with a buddy of mine, [producer] Andrew [Harrison Brown] who’s just shot it, and he and I worked together on a previous documentary called Kifaru. And so I love telling these stories. I love Kenyans; I got to meet some of the guys from the last film and I got to work with some Kenyan singers on the score and it’s a blast. I love documentaries, it’s a wonderful genre.
It strikes me as something where there is perhaps more of an emphasis on authenticity or audiences might be more aware if something rings false to them, and then there’s extra work to do in research, in trying to make sure that you are being authentic in the sound you’re creating.
Mm hmm, yeah, absolutely.
Finally, what do you hope audiences take away after watching Concrete Cowboy?
If anything, people can see that these people are real people. It’s not just in Philadelphia, it’s around the country, and they’re doing good, and because of gentrification and a lot of different reasons, some of these tables are getting shut down, and it’s really sad. So if anybody is moved to take action and support or raise awareness, then I think that would be awesome.
Concrete Cowboy begins streaming on Netflix April 2.