Legacy

I was lucky enough to have seen Legacy at its world premiere closing the 2010 Glasgow Film Festival, where it was introduced by the producers and the writer/director Thomas Ikimi. The audience was informed of an intriguing production history – Ikimi had to source funding from personal contacts in Nigeria, the film was entirely shot in Scotland but mainly set in New York, and Idris Elba, who was also the Executive Producer, took advantage of his connections in the US to acquire much of the cast. Despite a seemingly infeasible gap between the ambitious aspirations and the miniscule budget, it largely succeeds in sustaining a credible and engaging dramatic narrative centred around a 'Black Ops' soldier dealing with the consequences of a failed mission and his earlier actions.

Elba plays Michael Gray, and his compelling central performance (he is in almost every scene) begins with an armed encounter in which his unit's attempt to tackle a Ukranian-born arms dealer ends catastrophically. Following ten months in a military hospital to overcome the torture that he is subsequently subjected to, he returns to Brooklyn and moves in to a run-down apartment for a period of reflection and contemplation. The impressive, elaborate plot that unfolds comfortably melds action sequences and art-house elements, and moves in a range of directions that simultaneously focus on psychological deterioration, the nature of political success (Gray's older brother is a senator on the verge of announcing a presidential campaign) and the responsibilities of the media.

Elba's robust performance aside, the film also features strong supporting acts (including his Wire co-star Clarke Peters) and some outstanding technical flourishes. I particularly liked the vibrant sound effects, from the deafening explosive gunfire to the subtle resonances that perfectly complemented the claustrophobic apartment setting, and the minimal but effective score. My one minor criticism is common to this sub-genre – an unreliable narrator who blurs the lines between the imagined and the real can lead to occasional frustration/confusion for the audience. It is, however, highly recommended, and a very welcome development for film-making in Scotland.

Legacy is the second film from up and coming director/writer Thomas Ikimi and serves as further evidence that this young man is sure to be a source of great films in the near future.

This time he is armed with a stellar cast (Idris Elba is excellent and gives a most harrowing and unique performance), a dedicated crew and far less of the creative restrictions he experienced while making his micro budget first film, Limbo.

This is a dark and tense psychological thriller with a strong focus on the psychology so that the viewer must constantly question themselves throughout the complex plot. We are left often doubting our own conclusions just as quickly as we became certain of them.

I had a few gripes with the casting and thought that Clarke Peters was slightly out of place portraying a covert and deadly Black ops soldier. Also Monique Gabriela Curnen (who nevertheless gives a good performance) didn't quite feel the right choice for her role as Idris' past love interest. It's not all bad though as Eamonn Walker, Joe Holt and Lara Pulver were all excellently cast resulting in some particularly gripping scenes whenever they shared the screen with Idris Elba.

All in all this is a thinking person's film, don't let Idris Elba's all action persona falsely paint your expectations of what this film is about. If you like The Jacket, Jacob's Ladder or Open Your Eyes (Abre los ojos) then you should appreciate and enjoy this film. This Legacy will leave you with questions, but are you sharp enough to decipher the answers?

"Legacy" stars Idris Elba as Malcolm Gray, a Special Forces operative. It's really fun to watch. It's the first feature from the writer/director, Thomas Ikimi...and a good one at that.

Story & Plot: The story was personal and touching. As a plot, it developed plausibly and in a compelling manner. It took a lot of twists and turns that I did not expect. Suspense, romance, action, buddy scenes...they were all there and they were all done well.

Acting: Great performances from the cast. Really like seeing Clarke Peters (The Wire). However, the weakest link was Idris Elba. His Malcolm Gray role was meant to be vulnerable, but Elba doesn't always achieve that. That difficulty makes sense since he's on top of the world: women drool over him, men respect him. Plus he's minted. Not exactly a guy in a vulnerable position. Still, he gave a solid performance in a role in which I'd never expect him.

Characters: The characters were three-dimensional and fun to watch. Malcolm Gray's military buddies (including Clarke Peters) were very fun to watch. They all had some great scenes.

Dialogue: Mostly natural. However, there were a few lines that came out of Malcolm Gray's mouth that didn't seem consistent with his character or with the actor playing him.

Cinematography/Editing: Great cinematography and editing. Helped to keep things tense and interesting.

In the interest of full disclosure, I let any reader know that I know the writer and director of the movie. However, what I aimed to provide here is an unbiased review based on our thoughts and observations as a person who has a great appreciation for cinema. I think generally speaking when you have relatively small films, which have not been distributed widely there is a reliance on those who actually saw the film to give their input. I was lucky enough to be able to attend the Tribeca premiere of the film and will try to provide my impression and humble opinion. First of I think it is quite difficult to pigeonhole the film, but since most people ask for some kind of points of reference when talking about a film, I'd say it's the Manchurrian Candidate, meets Phone Booth, meets Fight Club with some Hitchcock flair. Yea, I know not very succinct, but the best I can do. The movie relies heavily on the solid script and acting prowess of the lead, Idris Elba since the majority of the movie takes place in a rundown hotel room. Since it's a psychological thriller, which deals heavily with the distortion of reality, the success or failure of the movie lies squarely on Mr. Elba's shoulders. He showcases his potential as leading man and ability to be a commanding presence on screen. Overall, I think he did a very good job, even though I didn't fully agree with all of the choices he made with the character. The twists and turns and attention to detail with which the script was written require a good deal of concentration from the audience, but I think challenging content is something popular cinema has been extremely short on in recent years. I think working within the budget constraints ( the equivalent of less than 3 seconds in any Michael Bay chase sequence), well written script, tight acting and compelling story line make this an enjoyable movie, especially for anyone starving for intelligent and ambitious film making.

This movie has a problem that many movies have: it's a story that could be told in less than an hour but the film makers felt they had to expand it to fit feature length. It's well made, and the acting is great, but it gets tiring very fast. The suspense sags and the ending just isn't justified by all the waiting. To compare it to Hitchcock is absurd.

Malcolm is a psychologically wounded soldier back from a clandestine operation. He's holed up in a shabby hotel room fighting his demons. He was a member of a covert operation that went bad, he wound up killing the family of a terrorist, and then, to make things worse, was captured and tortured by the very terrorist whose family he had killed. We come to understand that he was betrayed, but who betrayed him? And was the betrayal necessary to protect the operation or was it just to cover someone's behind?

Now he's escaped from an army medical facility and is mentally disintegrating by himself in that shabby room. Some elements of the film are hardly believable and what is real and what is imagined is never really clear.

That war can have devastating psychological effects on soldiers is well known. But we also want to know the mechanics of the operation that went wrong, and the decisions that were made. The operation was set up in order to stop a dangerous terrorist who was in possession of a large quantity of sarin gas, and is intent on wiping out a major American city, at least the infidels who live in it. These details are in the background and are leaked out as the movie progresses, at least to the extent we can believe Malcolm, who is clearly delusional and drunk most of the time. Even in his right mind Malcolm may not know what happened at the highest levels. Meanwhile we have to watch Malcolm going crazy and telling his story in a rambling, confused videotape. The craziness, though skillfully performed, obscures our understanding the the story, so we're left wondering what really went down.

We can sympathize with his pain. Brave soldiers can be scarred for life, but having to wait for plot elements to emerge while watching Malcolm disintegrate in his paranoia and guilt is excruciating. In fact, the only real suspense is wondering what Malcolm is finally going to do to resolve his dilemma. When the ending comes it's an anti-climax. There are no bad guys here (except the terrorists) and really no sense of justice because it's difficult to know for sure who was involved or what decisions were made. Moral clarity is something you need for a successful thriller, but here the moral lines are blurred.