Jackie Earle Haley Page 2

This true story from 19th century America feels eerily relevant today in its depiction of the divisions that define society. It's an engaging film, sharply written and directed by actor Nate Parker to pull the audience into the world of a black preacher whose conscience simply can't take the injustice any longer. Some of the themes feel a little pushy, but the film has real power.

It opens in 1809 Virginia, where the soft-spoken Nat (Parker) works as a slave for benevolent owner Sam (Armie Hammer). The two grew up together, so Sam is familiar with Nat's intelligence and passion, and also with the fact that Sam's mother (Penelope Ann Miller) encouraged Nat to read and study the Bible. In fact, Nat is such a great preacher that Sam loans him to fellow slave owners to convey the Old Testament "slaves obey your owners" message. But Nat realises that he can't continue with this after his wife Cherry (Aja Naomi King) is brutally attacked by the cruel slave tracker Cobb (Jackie Earle Haley). And once Nat decides he can no longer support the immorality and injustice of the system, he has little choice but to lead a slave revolt.

Parker's script recounts Nat's life story with telling details, contrasting his engaging courtship with Cherry with the series of insults they suffer at every turn. Living amid such systemic degradation, exploitation and violence simply gnaws away at Nat, and Parker underplays him beautifully, letting the charisma surge quietly under the surface. Hammer is solid as Sam, although his innate compassion leaves Haley to play the villain of the piece. As always, Haley is great at this, igniting loathing from the audience with his first appearance. All of the surrounding characters are played with a lovely sense of realism, adding hints of texture to each scene but never too much personality.

Continue reading: The Birth Of A Nation Review

It didn't seem possible, but somehow this action movie is even more preposterous than its predecessor, 2013's over-serious Olympus Has Fallen. Gerard Butler is back as a Secret Service agent protecting US President Aaron Eckhart, this time in a Taken-style scenario in which they leave America only to be immediately thrown into the middle of a massive terrorist attack. But the script is so lazy that there isn't a moment when any of this is remotely believable.

Events are put into motion when the British prime minister dies of a heart attack and security services only have a few days to lock down London so that the world's leaders can arrive for the funeral at St Paul's Cathedral. Mike (Butler) flies in with his boss Lynn (Bassett) on Air Force One, accompanying President Asher (Eckhart) and a platoon of bodyguards. Then just before the funeral, a carefully orchestrated series of bombings and gun attacks take out five heads of state. Of course, Mike and Lynn get Asher out of the fray, but an army of bad guys led by terror mastermind Kamran (Waleed Zuaiter) pursue them across the city. Back in Washington, Vice President Trumbull (Morgan Freeman) and the panicky cabinet (including Haley, Forster and Leo) watch all of this unfold on video screens and coordinates a counter-attack.

Even with four screenwriters, the movie makes no real sense. And worse than that, the filmmakers never take advantage of the story's potential or the heavy-hitting cast. There's a line about how all of London's landmarks have been destroyed, but the on-screen destruction is limited to just one of Westminster Abbey's towers. The depiction of world leaders is laughably cliched. And the award-winning actors have nothing to do but stand there looking worried. By contrast, Butler charges around shooting and stabbing everybody who moves in a display of shockingly brutal machismo. Eckhart is more believably reluctant to join in and dispense some violence, but of course he does.

Continue reading: London Has Fallen Review