Gore Verbinski's latest collaboration with producer Jerry Bruckheimer and star Johnny Depp has arrived amidst a whole heap of negative publicity. There's been scathing reviews from across the pond, and a fair few over here, which the trio plus other star Armie Hammer have blamed for The Lone Ranger's lack of success, in turn creating even more discussion about whether they were right to do so. What a lot of these conversations recently have in common is a lot about the box office takings and the reported $190m loss for Disney. But what of the film itself?
Well, it's actually all right.
A young boy visits an old Wild West exhibition in San Francisco in 1933 where he meets an aged Tonto (Depp) who begins to tell him the story of the Lone Ranger. John Reid (Hammer) is journeying back to his home town as a fully qualified lawyer. Unfortunately, he is also sharing the train with the violent outlaw Butch Cavendish (William Fichtner) and a Native American with a bird on his head, Tonto. After Cavendish escapes, John and his brother, Texas Ranger Dan (James Badge Dale) gather up the other rangers and set off in pursuit, but the encounter leaves both brothers dead. Well, mostly dead. John returns to life with Tonto declaring him to be a spirit walker, a man who cannot be killed in battle. Tonto has his own scores to settle and the pair reluctantly combine forces to chase Cavendish down.
A big budget Western is always a risky prospect; it's a genre that has already had its heyday and recent genre mash-ups like Cowboys and Aliens and Jonah Hex have been, frankly, terrible. Then again, the same was once said of the pirate genre and just like he did with Pirates of the Caribbean: The Curse of the Black Pearl, Verbinski has breathed life into the Western, bringing with him a fair slab of subversion in the process. The Lone Ranger is a well-crafted a slick adventure and whilst it doesn't match up to the quality of its swashbuckling predecessor, it certainly makes for quite the spectacle.
What is perhaps the most surprising element is the level of subversion present in this film; The Lone Ranger has been reformed from a symbol of old fashioned American values into someone who actively critiques them. For a summer blockbuster financed by one of the USA's biggest film studios, it spends a lot of its time criticising the nation's past, particularly their many sins in the name of progress. The US Army in particular comes under fire whilst that good old American capitalist greed is the biggest motivator for the villains of the piece. Even the mythology of the Wild West isn't safe, deconstructed in the framing device between the boy and Tonto.
Alongside this, there is also a sympathetic portrayal of Native Americans, long the bad guys of the traditional Western, here presented as a people fighting to keep their traditions and place in the world. The casting of Depp as a Native American is rightly problematic but there does seem to have been a concerted effort to portray the horrors against this culture effectively. The scene in which Reid meets the Comanche and learns of their struggle is one of the quieter moments, but carries an emotional weight that adds another layer to the proceedings. Anyone with the vaguest knowledge of history knows how this turns out so the scenes with the Native American characters pack a decent amount of pathos for what initially comes across as a light-hearted adventure.
The central pairing of Hammer and Depp (which sounds like a badass law firm) generates enough charisma to anchor the film and their relationship evolves nicely over the narrative. Hammer is the straight man to Depp's now familiar gurning and copes with it admirably. His arc is also well-handled as Reid starts off as a bit of buffoon, but rather than this miraculously disappear once he dons the mask, it becomes something he has to deal with and get better at doing so. Tonto is a fascinating character, no longer the sidekick but the equal, a man who is formed from violence and a need for vengeance just as much as John Reid.
Depp's usual schtick is present but more reigned in than he has been in other films and those fearing another Jack Sparrow need not worry. The tics are there, but not exhaustingly so and his Buster Keaton-esque walk through the big climactic battle is pitched perfectly. In the supporting cast, the excellent Ruth Wilson as the token love interest makes an impact with yet another underwritten female character; Rebecca isn't exactly a wilting damsel in distress and holds her own in the action sequences, but there weren't enough scenes between Wilson and Hammer to develop any sort of chemistry. William Fichtner and Tom Wilkinson as the villains of the piece are both excellent, standing at two ends of the spectrum with the repulsive snarler and the smooth operator respectively. And then there's Helena Bonham Carter with little more than a cameo but milking every moment of that for all it's worth. Plus, she has a prosthetic leg that doubles up as a gun. Of course.
And then there's the action sequences. With plenty of locomotive-based shenanigans to play with, Verbinski pulls off some amazing moments. The first train sequence sets the bar high and there are plenty of traditional Western gunfights and chases throughout to keep genre fans happy. Yet The Lone Ranger's crowning triumph is the climactic battle which really ramps up the action and delivers a thrilling sequence that enthrals from start to finish. Before this moment, Hans Zimmer's score had been largely by numbers but when his reworking of the William Tell Overture kicks in, the film steps up a gear and the results are nothing short of astounding.
It does have its problems however. It's another victim of the curse of the summer blockbuster, clocking in at two and a half hours long, but a stern edit could have cut the majority of the bloat. Expositional scenes abound and once the action set pieces stop and people start talking, the pace can slow to a glacial crawl. The tonal shifts are also a bit of an issue with the plot dealing with some dark subject matter only to have a scene of levity a moment later. Lighter moments to offset darker ones are to be expected in an adventure film, but occasionally, the transition feels rushed and can have a jarring effect. It's a shame really because with the unusually subversive message, the chemistry of its leads and some truly outstanding sequences, The Lone Ranger could have been a great blockbuster.
As it stands, The Lone Ranger is good, not great, but it is a refreshing little oddity of a film that doesn't deserve the vitriolic reception it has received. So don't believe the anti-hype; go and be entertained.
***
- Becky
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It has now been over a week since Detective Chief Inspector John Luther (Idris Elba) graced our television screens for the last time and yes, I'm getting withdrawal symptoms. The finale saw Luther down a partner after Ripley (Warren Brown) was gunned down by the vigilante killer Tom Marwood (Elliot Cowan) and possibly a girlfriend after Marwood goes after Mary Day (Sienna Guillory). He's also still the subject of a rather ham-fisted investigation into his activity by DCU Stark (David O'Hara) and the now rather conflicted DCI Erin Gray (Nikki Amuka-Bird). However, as these threads begin to unravel and tie him up in knots, an old friend in the form of psychotic Alice Morgan (Ruth Wilson) shows up to help out.
I'm still in two minds about this finale because it felt like an episode of two halves. On the one hand, you had the culmination of the Marwood plotline which followed directly on from the previous episode and featured some of the tensest scenes Luther has been involved in. On the other, there was the desire to wrap up Luther's story in a satisfying way to ensure that the fans got the ending that the character deserved. We also had this ongoing investigation into his methods, which by this point was weaving between the two narratives, but is very much a leaden weight to both. It's an odd mix and Neil Cross managed to largely succeed in making both plotlines work, but not necessarily together.
First of all, the Marwood narrative is one of the more interesting ones tackled by Cross; the idea of a vigilante killer in Luther's messed up world poses some intriguing questions for both the audience and Luther, as discussed in last week's review. Yet in his brutal killing of Ripley, an innocent, Marwood crosses a line and in this episode, he crosses that line and then sprints some way into the distance. Thus ensuring that we know he's completely unhinged by kidnapping an innocent woman to persuade her husband into killing the imprisoned murderer of Marwood's wife. Elliot Cowan's performance has been excellent throughout; Marwood's a broken man trying desperately to get some recognition for what he's done.
It's that desperation that Luther latches on to and there is an absolutely brilliant scene in which he and Alice wear Marwood down, filming him with his own camera in order to puncture his vigilante hero reputation. Any scene between Cowan and Elba was a delight, but the extra spark of the excellent Ruth Wilson elevated it above the rest. It was one of two key scenes in Marwood's plot that stood out from the episode, the other being the confrontation on the top of Paragon Tower safe house in which he tried to force Luther to choose between Mary and Alice. The tensions was ramped up the right amount but came more from the fact I didn't really care about Mary but was desperate that Alice survived. Luther's clever decision picking Alice (who would've let Mary die) ensuring that Mary saved her was a good twist and provided a most satisfying ending for Marwood.
And then there was the other plot thread in which Stark's demented investigation continued, but managed to suck any tension out of the proceedings once the odd couple of him and Gray appeared onscreen. Arresting Luther for the murder of Ripley and attempted murder of Mary was just a bit ridiculous on both level of plot and in terms of the characters' decision. Plotwise, it seemed to be there just to continue the parallels to Zoe's death in the first series and to put Luther in an adverse position, which he sort of was already. Granted, it did introduce Alice back into the mix (and what an entrance), but it didn't feel necessary to the proceeding hour.
In fact, the investigation plot didn't feel necessary in these last two episodes full stop. O'Hara's performance became a grizzly one note that wasn't menacing, but irritating and I was curiously indifferent to the moment in which Stark got blasted away. Gray's sudden change of heart just felt like a last minute attempt to redeem the character. It was a plot that was wrapped up in the second episode with the declaration from Ripley in which it provided an interesting dynamic to the fetish killer narrative. Here, however, it was just a dead weight. I would have much rather have spent more time with Marwood's plot and allowed that to breathe more; it was the much more compelling storyline.
The performances in this episode were largely excellent, particularly Cowan as I have mentioned. Yet it is to the two starring roles that we must turn because, when all is said and done, Alice came back. A fascinating character in her own right, Wilson's Alice is so gleefully demented that she provides a great balance to Elba's darker introspection. The actors' chemistry is electric and this episode proved that the third series really missed the banter that passed between them. With rumours of a movie and an Alice spin-off, Luther's ending left it suitably open-ended, but one thing was absolutely clear; Luther and Alice were going off together.
And let's face it, that was the ending we always wanted. He could've kept the coat though...
- Becky
You can read Becky's review of the previous episode here.
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Just as he finds a little romance and bromance in his life, Luther is faced with a vigilante, a man determined to exact his own justice as publicly as possible and the stakes get personal extremely quickly.
The episode begins in a typically Lutherian brutal fashion; two young people have been out with friends and romantically get together in the car on the way home. The happiness won't last though as the pair are attacked by a gang of hoodies, but a figure appears out of the dark with a sawn-off shotgun and blasts the ringleader away. Said figure is Tom Marwood (Elliot Cowan), a self-proclaimed vigilante killer out to make the criminal world pay for the horrific rape and murder of his wife. Luther (Idris Elba) gets on the case and, now reunited with Ripley (Warren Brown), must track down the killer before he strikes again.
The vigilante aspect of the killer makes for an intriguing change of pace from the previous two episodes in which the fetish killer was all about silence and taking his time in killing and arranging the bodies. In contrast, Marwood is loud, violent and most of all, in the public eye. It produces a different level of discomfort for the audience because the build-up this time isn't about where the killer is, but who he is going after and why. And in a canny use of the internet, Marwood captures his own audience and goes after the most public hate figures he can. It's viral violence, a vigilantism that garners support almost instantly.
Unlike previous killers, in which we automatically know they're completely in the wrong for murdering young women in their beds, the morality surrounding Marwood is immediately a nasty shade of grey. As Luther observes when the pair confront each other, it's not his motive that is wrong, it's his means. But this is also a sympathetic figure; the man lost his wife and was failed by the criminal justice system. He is also a man that will publicly hang people and therefore not to be approved of. The scene between Elba and Cowan was wonderfully constructed, facing each other across the canal bank, forming two sides of the argument with only the disparity of the gun between them.
The episode also takes a big step in the development of Luther as a character; he begins with Mary (Sienna Guillory) in his flat, he introduces Ripley is his friend and everything seems to be going swimmingly. But a happy Luther is not an interesting Luther and it's not long before it all goes to pot. From the minute that they decided it was a good idea to get the victim of a paedophile to plead for her tormentor's life in a live press conference, it was apparent it was all going to go completely wrong and poor, brave Ripley paid for it with his life.
Brown's performance in his final scene was just excellent, calmly refusing to let Cowan go and the moment packed an emotional, though not wholly unexpected punch. Structurally, the moment bore remarkable similarities to the death of Zoe Luther (Indira Varma) in the first series with Luther arriving too late and huddling over the body. It's clear it's going to have a massive impact on the character, losing his only friend to a vigilante who had previously only targeted criminals. It marks a massive shift for Luther over the course of the episode and psychologically speaking, he's never been the most stable. With the promised return of Alice (Ruth Wilson) next week (YAY), I'm hoping for a finale with the same amount of impact and drama as the one from the first series.
The only duff note in an otherwise strong episode is the continuation of the internal investigation into Luther's methods by the impossibly gruff-voiced Stark and the now morally conflicted Erin Gray. Quite why she thought this was a good idea to begin with when Stark is clearly deranged is never broached by the show, nor does it feel as if their inclusion is necessary now Ripley has confirmed that Luther hasn't done anything illegal. Their pursuit of Mary lacked any sort of impact because we don't know the character well enough - my criticism of this stands for the end of the episode too. I was still distraught about Ripley to worry about someone I met a couple of weeks ago. The 'whirlwind' speech was an excellent moment however.
What it does do, albeit in a rather oblique and unsuccessful way, is ask the question of what is going to happen to Luther now Ripley, his moral compass of sorts, is out of the picture. Will he go off the rails? Probably. Will he run off into the night with Alice before returning for the next series? Let's hope so.
- Becky
You can read Becky's review of Episode Two here.
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Luther returns to our screens, two years after the last series aired, walking out of a burning building dragging a suspect behind him, not even stopping to pause as an explosions rips through the doorway he has just moved away from. Of course he does. It's a great opening for one of the gruffest detectives around and a welcome return for Idris Elba in the role. Neil Cross' series about the titular police man with a dark and tortured past has never been anything but gripping and whilst the change in format for the second series didn't quite match up to the brilliance of the first, it remains here. The current run is four episodes consisting of a pair of two-parters, allowing for some lengthy character development and also, some nasty, nasty crimes.
Heading up the Serious and Serial Crime unit, you always know the criminals in Luther aren't going the of the fluffy bunny variety and so it proves again. Tell me, did you check underneath your bed last night and make sure all the doors and windows were locked? I certainly did, because those two murders in last night's episode were terrifying. A testament to Sam Miller's direction, the first sequence with Emily Hammond was torturously slow and took place in complete silence before some screeching strings that frightened the life out of me as the fetishistic murderer's head popped out from underneath the bed. I already knew he was there thanks to the long, lingering shot of Emily's feet from under the sheet, at which point I was already shouting at the television telling a fictional character to get out of their house (Luther does this to me).
The suspense didn't end there though and the playing with horror conventions worked really well throughout the episode to ramp up the tension to the point of it being almost unbearable. This was particularly effective with the closing murder scenes of the episode, playing like a house invaders narrative, albeit with less build up than something like The Strangers. The murderer again hiding in the house, though this time in plain sight under a dust sheet in the attack. Again, Miller takes his time with the set up, allowing the husband to get perilously close in near silence before the murderer struck loudly and violently. This was another shouting at the television moment, I'm not ashamed to admit.
One aspect that Luther has always handled well is the multiple strands to each story that is presented. Whilst Luther and the ever-dependable Ripley (Warren Brown) were investigating the Hammond murder, they were also given the murder of Jared Cass, an internet troll and now part of a post-mortem graffiti exhibition. This led to one of the finest scenes in the episode as the pair were led to the Barnaby family, whose daughter had been killed and later defiled on the internet by Cass. Lucian Msamati's grieving father was heartbreaking to watch and made even more painful by Luther's decision to warn him obliquely that they knew he was the killer. As the blender was plugged into the wall, I hid behind a cushion and shouting at the television once again. This episode put me through the wringer.
However there was another plot strand that didn't work, or at least wasn't allowed the time to develop that it perhaps should have been. With the antagonising DCI Erin Gray (Nikki Amuka-Bird) returning with a big ole grudge for Luther and hiring an unhinged DCU Stark to work the corruption charge she's just been dying to hit Luther with. They do this by recruiting Ripley to their cause. Yes, the same Ripley that risked his career and life back in the first series because he believed that Luther hadn't been the one to kill Zoe. The same Ripley that has been by Luther's side loyally for a huge amount of time. Apparently, all it took to turn him was a bit of casual strangulation.
Now Ripley has always been Luther's moral compass of sorts, tasked with reining him in when the DCI gets a bit violent or unhinged and I can understand that that would take its toll on a person. Yet it was unbelievable in such a short space of time, with little to no development leading into it. It's a character moment that jarred and whilst Brown has performed excellently, I can't help but feel this could be a bit of a bum note in the series, designed to add yet another menace to Luther's progression. On a positive note though, the interaction between Elba and Brown in the scenes where their relationship starts to fracture was deftly handled with just a couple of quick glances to let you know of Luther's suspicion or Ripley's shifty attitude. It just could have done with some more build-up.
Finally, in amongst all this death and tension, there was also a nice bit of light relief as Luther met someone who was labelled 'love interest' from the moment her bumper clashed with our detective's old banger (not a euphemism). Sienna Guillory's Mary Day emerged from her car (told you it wasn't a euphemism) in a slightly Manic Pixie Dream Girl-ish way, but I won't hold that against her just yet as I liked her scenes with Luther. A nice bit of banter between the two about his name, which also provided some neat character analysis, was a welcome break from the episode's darker moments.
I can't be the only who is missing Alice already though right?
- Becky
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