Feeney is starving for revenge in Black ’47

Director: Lance Daly
Writters: by P.J. Dillon, Pierce Ryan, Lance Daly, and Eugene O’Brien
Starring:
Hugo Weaving as Hannah
James Frecheville as Feeney
Stephen Rea as Conneely
Freddie Fox as Pope
Jim Broadbent as Lord Kilmichael
Released: September 28, 2018
Runtime: 1h 40min

Geekscape Movie Review: Black '47

Revenge films are one of my favorite subgenres of action movies. I gravitate towards them like a fat cat to food. There is just something so satisfying about the bad guys getting their just deserts at the end. Usually, the revenge films I choose to rent are outrageous or stylized movies like Death Wish 3 or the Crow. Every once in a while I like to mix my revenge stories with period pieces like with Gladiator or Braveheart. This was one of those nights with Black ’47.

Back of the Box Summary

Feeney is an Irish Ranger fighting with the British Army abroad, but abandons his post to return to Ireland to see his family. Ireland was suffering through the worst year of the Great Famine in 1847. When Feeney returns home, he finds his mother has starved to death, and his brother has been hanged for stabbing a bailiff during his families eviction.

Feeney stays with his brother’s widow, Ellie, and her three children in one of the few homes with a roof. They all plan to emigrate to America but before they can agents of the local landlord kick them out for squatting. His nephew is killed, and Feeney is arrested for interfering.

While being processed for his arrest, Feeny kills several soldiers and destroys the barracks. When he returns to the house, he finds Ellie and her two remaining children have frozen to death under a thin blanket. This starts a savage drive to get revenge on everyone who has wronged his family from the local landlord that evicted his family to the Judge that sentenced his brother to death.

Hannah, a drunken veteran of the British Army that served with Feeney in Afghanistan, is the only man that can catch Feeney. Hannah happens to be facing a death sentence for strangling a prisoner he was questioning. Along with Pope, an arrogant British soldier, and Hobson, an idealistic young English private, they must find Feeney before he kills everyone up the corrupt ladder.

Pros:

– The Western feel of the film provides an engaging pace that takes its time but never drags.

– Stephen Rea plays Conneely, the guide of Hannah and the crew chasing Feeney. His presence feels like a representative of us, the audience. Always around and watching everything around him. Connely has a drink with Lord Kilmichael in an Irish pub that sticks with me. They talk about the beauty of Ireland and the difference between British and Irish women.

– Speaking of Lord Kilmichael, played perfectly by Jim Broadbent, this character is so dismissive of the horrors around him, and Broadbent makes you disdain him with his performance. His line about Indians on the shore of Manhattan hit hard with me. Stabbed this American right in the heart with the truth of his story.

– James Frecheville has great intensity while playing Feeney.

– Hugo Weaving is always fantastic and is no different in Black ’47.

Cons:

– Nothing jumps out, but this movie could have used more of it’s time to show more of the mass starvation at this time in Ireland. Sometimes I would find myself forgetting this was about the Great Famine in 1847.

Final Grade: B+

This is one of the most surprising trailers to come out of Comic Con this year, and it has me super excited.

The classic comic book characters Asterix and Obelix are returning to the big screen in what looks like a great animated adventure. Check out the trailer below.

Being a US citizen, I never had a whole lot of exposure to the ancient duo. I was introduced to the the series via the 2004 Gamecube game Asterix & Obelix: XXL.

The Mansions of The Gods is based off the comic of the same name from 1973, where our titular heroes rebel against Julius Caeser as he tries to take over their village.

The film does not have a US release date yet, but hits theaters in the UK August 19th. It also marks the first foray into 3D for the series.

It stars Jack Whitehall, Nick Frost, Catherine Tate, Matt Berry, Greg Davies, Harry Enfield, Dick and Dom and Jim Broadbent

One of the highlights of this year’s Philadelphia Film Festival came in the form of Tom Tykwer and Andy & Lana Wachowski’s (The Matrix trilogy) epic sci-fi adventure Cloud Atlas. Based on David Mitchell’s award winning book of the same name, Cloud Atlas attempts to interconnect the entire past, present and future of human civilizations by weaving together multiple stories that span over six different centuries. In doing so, the trio of directors inherently offer a somewhat jumbled mess of concepts and ideas. But what a beautiful mess it is.

The best way to describe Cloud Atlas is to parallel it to a puzzle box. You see this complete and beautiful “big picture” that is pristine in every way imaginable. Each color delightfully complementing the other and the idea so flawlessly captured, it’s just … perfect.  But similar to the movie, you open the box and the perfection is broken up into pieces scattered everywhere. Each of these pieces waiting patiently for you to put them in their proper order, waiting to serve their purpose to the bigger picture. Cloud Atlas is an enormous six-movies-in-one journey, it’s a puzzle. And for that reason, Cloud Atlas deserves every bit of your viewing attention. I firmly believe that it’s a story so grandiose that it’s virtually impossible to dissect and piece together the puzzle in only one viewing. And also for that reason, it not only becomes one of the most polarizing films in recent memory, but Cloud Atlas becomes a cine-phile’s dream project. One that I proudly accept. You can be assured that I plan on watching the remarkable two hour and 43 minute journey many times in my future.

As creatively profound and visually groundbreaking as Cloud Atlas is, the film is by all accounts mightily flawed. But sometimes blemishes can give off a large sense of character, and that holds true with this feature. I recall leaving the theatre somewhat perplexed by what transpired on screen and thinking to myself “there was no emotional punch, there was no shining moment”. And for a film of this magnitude, that type of impact is essential. For this reason alone, Cloud Atlas becomes an understandably displeasing adventure for much of its audience. However, lack of comprehension often leads to massive disappointment in all different kinds of art forms. I tried my hardest to look past this glaring fault and to place my focus solely on Tykwer and the Wachowski’s message of an interconnected history of humanity. Recollecting the film in this light, I can honestly say that Cloud Atlas is one of the most fascinating movies I have ever had the pleasure of seeing.

To truly appreciate the entirety of Cloud Atlas, you must first be consumed by each of its stories on their own. The film does a remarkable job of giving an absorbent amount of life to all of the different stories and making them feel extremely unique and disjoint, yet so entwined to a larger agenda. And while none of the feature’s long list of stars particularly stand out (except the underrated Jim Broadbent), Cloud Atlas and its numerous plot lines still serve their purpose and prove to be quite effective. Not only do the stories leave enough clues to unravel the mystery behind Cloud Atlas, they’re exceptionally entertaining and they help you to ease your way through the lengthy sounding duration.

Trapped inside of Cloud Atlas is a beautiful picture waiting to be pieced together. With the appropriate amount of time and effort, it can be. Be warned, Cloud Atlas is definitely not a movie for everyone. It requires all of a viewer’s attention and it demands a level of focus and thought that far exceeds the average Hollywood release. Therefore, we should both love and hate Tom Tykwer and the Wachowski’s for this ambitious piece of work. If you’re up for the challenge, there’s plenty of greatness hiding inside of Cloud Atlas. If not, please move along.

Rating: 4/5

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