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    Movie Review

    Compelling war-time drama Summerland is an auspicious debut for filmmaker

    Alex Bentley
    Jul 28, 2020 | 12:50 pm
    Compelling war-time drama Summerland is an auspicious debut for filmmaker
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    War films tend to go one of two ways: Either they focus on the military and what it takes to actually fight the war, or they concentrate on how civilians are affected by its horrors, either directly or indirectly. The new film Summerland takes the latter approach, delving deep into an English seaside village with one particularly odious resident.

    That person is Alice (Gemma Arterton), a research writer who lives alone in a house overlooking the White Cliffs of Dover. She’s detested and/or feared by almost everyone in town for her surly attitude, and she does nothing to try to win them over. Things start to change when she’s asked to take in Frank (Lucas Bond), who’s been sent away from London to protect him from German air raids during World War II.

    Although initially stand-offish toward him, Alice’s icy demeanor soon starts to thaw as Frank shows an interest in her research. Frank, desperate for any kind of normalcy, not only gloms on to the small morsels of kindness Alice sends his way, but also befriends Edie (Dixie Egerickx), a girl who could rival Alice in her unsociability.

    Written and directed by first-time feature filmmaker Jessica Swale, the film is so finely detailed that you’d swear it was based on a best-selling book. However, the idea comes directly from Swale’s mind, making it all the more impressive. She layers the interactions of the characters upon each other in such a way that each person feels fully realized even if they only appear in a handful of scenes.

    Swale also mixes in flashbacks to Alice’s younger days when she was in a relationship with Vera (Gugu Mbatha-Raw). The juxtaposition between her openness and happiness with Vera and her withdrawn nature in the current day of the film highlights how much she has changed in a relatively short period of time. Swale threads this part of the story in just enough to make an impact, which pays increasing dividends as the film goes along.

    The story is designed to keep its characters mostly away from the horrors of war, but given that it’s taking place at the height of World War II, thoughts of it overshadow every aspect. When it does delve more overtly into the events of the war, the impression those scenes make is even greater.

    Arterton has been working steadily in films for over a decade, but she has yet to have a true breakout role. While this film is too small for her role to be transformative for her career, she shows off a star quality that bodes well for future films.

    Bond is instantly memorable, displaying a charisma and intelligence that makes him more than a mere child actor. Mbatha-Raw is compelling in her brief appearances, and two-time Oscar nominee Tom Courtenay brings humor and gravitas to his role as a school headmaster. Downton Abbey favorite Penelope Wilton makes special appearances as an older Alice.

    Summerland is an auspicious debut for Swale, one that shows her skills as both a storyteller and a filmmaker. It’s a deeply personal film whose characters pop off the screen thanks to a great combination of writing and acting.

    ---

    Summerland will open in select theaters on July 31. It will also be available via VOD/streaming platforms like Vudu, Amazon Prime Video, Apple TV, GooglePlay, and more.

    Gemma Arterton and Gugu Mbatha-Raw in Summerland.

    Gemma Arterton and Gugu Mbatha-Raw in Summerland
    Photo courtesy of IFC Films
    Gemma Arterton and Gugu Mbatha-Raw in Summerland.
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    Movie Review

    Remake of Schwarzenegger classic The Running Man stumbles

    Alex Bentley
    Nov 13, 2025 | 2:21 pm
    Glen Powell in The Running Man
    Photo courtesy of Paramount Pictures
    Glen Powell in The Running Man.

    For all its cheesy ‘80s greatness, the original version of The Running Man starring Arnold Schwarzenegger was a very loose adaptation of the novel by Stephen King. For the new remake, writer/director Edgar Wright has tried to hue much closer to the story laid out in the book, a decision that has both its positive and negative aspects.

    Glen Powell takes over for Schwarzenegger as Ben Richards, a family man/hothead who can’t seem to hold a job in the dystopian America in which he lives. Desperate to take care of his family, he applies to be on one of the many game shows fed to the masses that promise riches in exchange for humiliation or worse. Thanks to his temper, Ben is chosen for the most popular one of all, The Running Man, in which contestants must survive 30 days while hunters, as well as the general population, track them down.

    Given a 12-hour head start, Ben earns money for every day he survives, as well as every hunter he eliminates. Since he only has a relatively small amount of money to use as he pleases, Ben must rely on friendly citizens who are willing to put their own lives on the line to help him. That’s a task made even more difficult as the gamemakers, led by Dan Killian (Josh Brolin), use advanced AI to manipulate footage of Ben to make him seem like a guy for which no one should root.

    Co-written by Michael Bacall, the film is shockingly uninteresting, working neither as an exciting action film, a fun quippy comedy, or social commentary. The biggest problem is that Wright seems to have no interest in developing any of his characters, starting with Ben. Our introduction to the protagonist is him trying to get his job back, a situation for which there is little context even after we’re beaten over the head with exposition.

    The situation in which Ben finds himself should be easy to make sympathetic, but Wright and Bacall speed through scenes that might have emphasized that aspect in favor of ones that make the story less personal. The filmmakers really want to showcase the supposed antagonistic relationship between Ben and Dan (and the system which Dan represents), but all that effort results in little drama.

    Ben has a number of close calls, and while those scenes are full of action and violence, almost every one of them feels emotionally inert, as if there was nothing at stake. It doesn’t help that Wright doesn’t set the scene well, making it unclear how far Ben has traveled or who/what he’s up against. There are times when Ben feels surrounded and others when he can walk freely, weird for a society that’s supposed to be under almost complete surveillance.

    Powell has been touted as a movie star in the making for several years following his turn in Top Gun: Maverick, but he does little here to make that label stick. With no consistent co-star thanks to the structure of the story, he’s required to carry the film, and he just doesn’t have the juice that a true movie star is supposed to have. Nobody else is served well by the scattershot film, including normally reliable people like Brolin, Colman Domingo, Michael Cera, and Lee Pace.

    The Running Man is a big misfire by Wright and a blow to Powell’s star power. On the surface, it has all the hallmarks of an action thriller with a side of social commentary, but nothing it does or says lands in any meaningful way. Schwarzenegger’s one-liners in the original film may have been goofy and over-the-top, but at least they made the movie memorable, which is way more than can be said of the remake.

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    The Running Man opens in theaters on November 14.

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