The Weekend Australian - Review - - Out & About - SR DS

(MA15+) Michael Bay’s 13 Hours, based on the book by Mitchell Zuck­off, tells the story of a con­certed ex­trem­ist at­tack on two US fa­cil­i­ties in Beng­hazi on Septem­ber 11, 2012. It is a year af­ter the over­throw of Muam­mar Gaddafi and the Libyan city is one of the most dan­ger­ous places on earth. The job of pro­tect­ing the US di­plo­mats rests with pri­vate mil­i­tary con­trac­tors. It’s worth sin­gling out John Krasin­ski as Jack Da Silva. He has come a long way from Jim Halpert in the Amer­i­can ver­sion of The Of­fice and he has been build­ing to an im­pres­sive role such as this for a while. Bay’s in­ter­est is less political and more per­sonal. He tells the story of six men, all of whom have fam­i­lies, do­ing a bloody job in near-im­pos­si­ble cir­cum­stances. If you are look­ing for an im­mer­sive ac­tion thriller, this will do the trick.

Son of Saul (Saul fia) (M) One of the most con­fronting films made, Hun­gar­ian di­rec­tor Las­zlo Nemes’s Cannes prizewin­ner is set in Auschwitz in 1944 and is seen through the eyes of a son­derkom­mando, a pris­oner used by the Nazi guards to carry out tasks they them­selves avoid. Al­though the film sug­gests rather than ac­tu­ally de­picts the hor­rors, it’s dif­fi­cult to sit through at times, even though it’s un­de­ni­ably well made and in many ways a coura­geous at­tempt to re­ex­plore the legacy of the Holo­caust.

Coun­ter­move It’s not of­ten Syd­ney Dance Com­pany looks this wild and tough. As Rafael Bonachela’s Lux Tene­bris starts the dancers prowl around like feral cats, get into light­ning-fast tussles with oth­ers and then do a run­ner. The ti­tle may trans­late as Light in Dark­ness but op­er­ates al­most en­tirely in the shad­ows. The at­mos­phere is edgy and mys­te­ri­ous, cre­ated in no small part by the com­mis­sioned elec­tronic score from Nick Wales that evokes the vast­ness of the uni­verse as it buzzes, hums, clanks and drones. Th­ese dancers al­ways look sharp but here sleek­ness gives way to fe­ro­ciously strong and mus­cu­lar at­tack. They need it for this hugely de­mand­ing work. The evening opens with the re­turn of Alexan­der

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