Naomie Harris

  • Black and Blue (2019)

    ByChristian Sauvé Movie Review

    (In French, On TV, November 2021) I’m sure there was a profound and dramatic drama to be made out of Black and Blue’s premise — a black policewoman placed under grave danger when asked to pick her loyalties between corrupt colleagues and unfriendly civilians. But that intention disappears a few minutes into the film as the gears shift and we find ourselves in a ludicrously overcooked blend of paranoia film tropes set in a deeply corrupt New Orleans. As our heroine sprints over hurricane-ravaged neighbourhoods, constantly watching her back for a police force ordered to shoot her on sight, Black and Blue becomes a familiar paranoid thriller more than an intriguing exploration of contemporary issues. Of course, there are the changing tides of public opinion to consider: what could have been quite acceptable as a genre thriller in 2019 is woefully incomplete once past 2020’s reckoning of unchecked police abuse. This makes the subject matter of the film far more familiar, but also far less credible due to sudden familiarity with the issues. None of the film’s shortcomings should be attributed to Naomie Harris, a perennial favourite who acquits herself quite well in a role combining drama with action — the title’s double meaning means that she’s bruised and battered by the end of the film. The New Orleans backdrop feels as run-down and hopeless as the plot, so there’s something to director Deon Taylor’s credit in the film’s atmosphere. It does wrap up neatly — probably too neatly for such a messy topic. And that’s Black and Blue in a nutshell — a rather average film that (unwittingly?) courts greater scrutiny of itself than it can sustain.

  • Rampage (2018)

    Rampage (2018)

    ByChristian Sauvé Movie Review

    (On Cable TV, December 2018) Hey wow—I recall playing Rampage-the-videogame on personal computers in the late 1980s, wowed by a 16-colour palette (EGA forever!) and having rather a lot of fun with it. (I just had a spin through the online abandonware browser emulator and it’s pretty much what I remembered.) Rampage the movie, of course, is something else: A thin excuse to have monsters destroying good chunks of a city, finally proving that seventeen years after 9/11, we’re once again ready to rumble through devastated downtown areas. Dwayne Johnson (who else?) leads the film, playing the kind of superheroes that is de rigueur for that kind of movie. The scientific blablabla is nonsense, but it quickly gets us to the super-monsters destroying cities, albeit with a slightly harder edge than I expected from a big PG-13 movies: there’s some faintly upsetting almost-R violence in the film that I did not necessarily enjoy. Still, Rampage is meant to be dumb fun and it knows it: one of the best non-CGI parts of the film is Jeffrey Dean Morgan as a mysterious scenery-chewing Southern man-in-black kind of special operative stealing every scene he’s in. Johnson is up to his usual leading-man standard (but is he getting overexposed?) while Naomie Harris is always enjoyable to look at—this film not being an exception. Of course, the point of Rampage is seeing Downtown Chicago landmarks being destroyed as thoroughly as possible—surely I can’t be the only one thinking about a Rampage/Transformers 3 mash-up? The film is both better and worse than expected: better in that it delivers the goods and keeps moving, with some great special-effects sequences along the way. Worse, because of the too-high level of violence, and overall impression that we’ve seen urban destruction so often lately (even in director Brad Peyton’s oeuvre, as per the somewhat more ludicrously enjoyable San Andreas) that Rampage is going to sink back into anonymity within months.

  • Moonlight (2016)

    Moonlight (2016)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, September 2017) Somewhere in my notional Critic’s Lexicon, there’s an entry for “spotlight rot,” or the tendency for genre work to curdle in appreciation when brought to a wider audience. This phenomenon is most visible during award season, as larger and more generalist viewers take a look at nominated works. What was, up to then, a critical darling of a small group of nominators can wither when considered from audiences who may not be initially sympathetic to the work’s goals and shared assumptions. So it is that Moonlight is, without a doubt, a rather good intimate drama depicting the journey of a young black man as he confronts his homosexuality in an environment that isn’t welcoming to his nature. It’s a film shot with skill by writer/director Barry Jenkins, structured unusually enough to beg attention and blessed with impressive performances by Mahershala Ali, Naomie Harris and Janelle Monáe (who’s good and lucky enough to be in two Oscar-nominated movies this year). But taken out of that context, lauded as one of the year’s best picture and seen from another perspective, however … it does feel rather dull. Matter-of-fact. Imperfect. The rigid three-act structure elides a lot of details and forces the rest in a small window. (Confining Mahershala Ali’s performance to the first act seems like a wasted opportunity.)  The small budget of the film quickly shows its limits. And the point here isn’t that Moonlight is a lesser film—after all, it memorably won the Best Picture Oscar in one of the institution’s most unbelievable presentation screw-up. But the spotlight that the film gets as !!BEST PICTURE OF THE YEAR!! almost diminishes what it manages to accomplish with very little at its disposal. Time will tell if the film ages well … but it’s very possible that future film critics will wonder why it outclassed La-La Land and other contenders … and then we’ll have to explain #oscarssowhite … and maybe the current president. Sometimes, even small movies get swept up in big movements.

  • Southpaw (2015)

    Southpaw (2015)

    ByChristian Sauvé Movie Review

    (Video on Demand, November 2015)  With a few modifications, Southpaw would have made a splendid Rocky II: It begins with a boxer in the prime of his life, winning fights, enjoying his money, loving his wife and doting on his daughter.  But it doesn’t take much for all of it to be taken away, and much of the film is spent going through this riches-to-rags story and then looking on as the protagonist digs himself out of the hole he’s fallen into.  It’s a relatively familiar story (although the triggering incident twenty minutes in the film will surprise many who haven’t seen the trailer), but it’s generally well-executed enough.  What really shines here is Jake Gyllenhall, physically pumped-up and ripped to a degree that may shock fans who aren’t used to seeing him in such peak condition: beyond the physique, he brings his usual intensity to a role far more aggressive than most of his previous performances and the result is often mesmerizing.  (Compare him in Prisoners, Enemy and Nightcrawler for an astonishing slice of filmography spanning just three years)  Forest Whitaker and Rachel McAdams don’t exactly stretch themselves in supporting roles, but they each bring what they do best.  Curtis “50 Cents” Jackson and Naomi Harris have all-too-brief minor roles, while Oona Laurence is remarkable in a tough child performance.  Director Antoine Fuqua thankfully leaves some familiar tics behind in delivering Southpaw (it’s not quite a gratuitously violent nor as obsessed with police elements as many of his previous films, or instance) and he’s able to direct familiar boxing scenes with a good amount of power.  It’s not quite a feel-good film (despite the triumphant ending, viewers will have to crawl along a lot of mud alongside its protagonist to get to the good parts) but it’s satisfying enough.  Southpaw’s not meant to be subtle, but it lands its punches.

  • Skyfall (2012)

    Skyfall (2012)

    ByChristian Sauvé Movie Review

    (Video on Demand, February 2013) The James Bond franchise needed to celebrate its fiftieth anniversary in style, and Skyfall is just what critics ordered, especially after the disappointment that was Quantum of Solace on the heels of the invigorating Casino Royale reboot.  A surprising, intimate celebration/deconstruction of the Bond mythos, Skyfall feels like the most richly thematic Bond yet, indulging into the British machismo of the character while making him fail at nearly every turn.  It’s a film that makes a daring series of choices, by nearly killing off the character, graphically exposing his shortcomings, putting him in the service of the matriarchy, flipping the Bond structure as to put the obligatory winks at the beginning of the picture, and delving deeper into Bond’s back-story than ever before.  It also features one of the oddest and most effective villains in recent Bond history, as Javier Bardem flamboyantly (yes, that’s the code word) plays an enemy with a straightforward yearning for vengeance.  Director Sam Mendes wasn’t the most obvious choice to direct the film, but his handling of the film is immensely self-assured, delivering neat jolts of action alongside the most character-driven moments.  It helps that Daniel Craig here solidifies his take as the most credible Bond since Connery, that Judi Dench can sustain a script heavy on her character, and that Naomie Harris fits perfectly in her role.  The film’s cinematography is top-notch, and Skyfall is peppered with great moments from a climax-worthy opening action sequence to a one-shot neon-backlit fight to a masterful villain walk-in.  Thematically, the film is rich, with real-world allusions crowding symbolism and dramatic ironies.  There are too many issues with Skyfall to qualify it as an unimpeachable masterpiece: There’s a lull at the beginning of the third act, the villain’s plan is one of those convenient “everything has to be just so” house of cards, and the seriousness of the picture is the kind of reinterpretation you can only do once a generation.  But Skyfall does complete the franchise re-invention process started by Casino Royale: by the time the credits roll, all the pieces (Q, M, Monneypenny, Bond back in service “with pleasure”) have been put in place for another series of installments, preferably ones that goes back to a less serious take on the character now that it has reset expectations.

  • Ninja Assassin (2009)

    Ninja Assassin (2009)

    ByChristian Sauvé Movie Review

    (In theatres, December 2009) I can imagine the arguments that got this movie green-lit: “Every kid loves pirates, cowboys and ninjas!  Disney owns pirates and westerns never make any money, so let’s go for ninjas!”  That, along with an unshakeable desire to recycle decades of ninja-movie clichés may be what brought Ninja Assassin to the big screens, and the result feels as familiar and redundant as the film’s title.  Devoted to reviving the mystique of the ninja (even imbuing them with slightly-supernatural abilities), this film has plenty of dull dialogue and very few surprises in showcasing all the permutations that fans could ask for: Ninja-vs-criminals, ninja-vs-SWAT-team and the ever-popular ninja-vs-ninja.  And yet, two things make the film stand out: First, the unnecessary amount of gore sprayed everywhere: People aren’t just cut or sliced in this film as much as they’re decapitated, dismembered and cleaved in halves.  Second, though, is the general competence in which the film achieves its own objectives:  As far as a B-grade action films about ninjas are concerned, Ninja Assassin is pretty much what it wants to be.  Add to that Naomie Harris (whom I’d watch in just about everything), overblown CGI effects, the obligatory climax set on a burning set, a fine performance by Korean pop-singer Rain (in a Hollywood environment not known for lead roles for Asian actors) and director James McTeigue’s film is quite a bit better than the low expectations set by the boring trailer.  I didn’t like Ninja Assassin all that much, but it works in some clunky fashion, and I wasn’t bored for long.  For a film that indulges into two of my least-favourite action scene clichés (namely; dimly-lit sets and frantic over-cutting), that’s about as much praise as I can give.