Like Clockwork: Tom Hardy summons the ultraviolence in British gangster epic The Take (Amazon Prime)

Tom Hardy as Freddie in The Take
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Tom Hardy is a bit of an enigma. From his rise to fame in Nicolas Winding-Refn’s Bronson to his portrayal of Bane in The Dark Knight Rises, there have been times when it’s felt like we were witnessing a legend in the making. He was also impressive in Warrior, The Revenant and Locke (the latter being a highly underrated flick, and perhaps my favorite Hardy role). Actually, his filmography is littered with damn-good movies (Mad Max, Legend, Inception, et. al). But the more I’ve seen him, the more I’ve wondered, Is Tom Hardy a great actor or simply a charming, bi-polar psychopath who convincingly plays several hyperbolic iterations of himself?

I pose this question in thinking back to when Hardy mania was at  fever-pitch, around 2014. Teasers of his new role in Peaky Blinders had me wondering if some Daniel Day-esque transformation from mere mortal to acting god was about to occur. The table was set for the next Bill the Butcher to carve his mark into cinematic infamy.

But then Blinders slogged out his mumbly, odd-for-odd’s sake character of Alfie Solomonsnot a bad role, and perhaps one that was more the writers’ fault than his own, but still a bit of an anticlimactic thud in contrast with the reckoning that was Bane. And more importantly, one that brought the realization that, well, maybe this guy is just a very interesting character actor.

alfie-solomons-tom-hardy-cillian-murphy-peaky-blinders

“You coulda been a contender, mate…”

That’s not a segue into saying Hardy is one-notehis dramatic range is vast. But as he’s developed his laundry list of highly entertaining roles, I’ve seen a common thread: they’re almost all iterations of a morally conflicted, maniacal he-man with a glint of unpredictable deviance flitting across his expressive eyes. Which leads me to believe that he’s either the most typecast actor of all time or, likelier, less of a transformational talent than simply one of the most brilliantly unique character actors in film. (Here’s looking at you, Michael Shannon.)

I say this all to set the stage for what is perhaps “the most Tom Hardy role” of Tom Hardy’s careerhis turn as British gangster Freddie Jackson in the four-part 2008 Sky 1 series The Take, an engrossing and depraved epic filmed right on the cusp of Hardy’s rise to household name.

Shaun Evans, Charlotte Riley, Tom Hardy and Kierston Wareing in The Take

Evans, Riley, Hardy, Wareing (L to R)

The Take opens with Freddie being released from a prison stint in 1984, right back into the anonymous slums where his life of crime began. Freddie’s story is common, Scarface-esquethe brash, fearless young hurricane who could give a fuck about the old school rules of criminal code. Not interested in “waiting in line” for his rise, he begins bashing heads, making enemies and causing overall havocall as his crime don (a steely, menacing Brian Cox) attempts to call the shots while inside prison walls.

The yin to Freddie’s maniacal yang is his cousin and only trusted confidant, Jimmy (Shaun Evans), a scrawny, posh-looking Hugh Grant stand-in who makes up for his meekness with calculating business wiles. The key players also include Jimmy’s wife, Maggie (Charlotte RileyHardy’s real-life spouse), always looking to steer Jimmy away from Freddie’s mayhem. And there’s Maggie’s older sister, Jackie (Kierston Wareing), who also happens to be Freddie’s wife. It all makes for an incestuously close crime family, and one that toes a deadly line as rivalries begin to simmer.

shaun evans the take

Shaun Evans as Jimmy: The most menacing gangster since Hugh Grant in Mickey Blue Eyes

Encapsulating ten-plus years of Shakespearean tragedy over just four episodes, The Take has a lot of ground to cover. And to say it does so admirably would be an understatement. It’s first two episodes end on the type of multi-pronged bang that you’d expect most shows 12 episodes to deliver (or in the case of, say, The Walking Dead, more like 80 episodes). With a tight script, a breakneck pace of action, and Hardy, Wareing and Riley’s riveting manifestations of dynamically plotted characters, The Take’s well-fleshed resolution does not feel the least bit rushed.

Wareing, specifically, gives a remarkably devastating performance as the pitiable, hopelessly in love wife of a two-timing, absentee jailbird father (Hardy’s Freddie). It’s almost as if we’re witnessing the precursor to the drunken hot mess she played in Fish Tankanother bleak and superbly acted British slum portrait, released the same year.

Kierston Wareing looking like a hot mess in the take with tom hardy

Kierston Wareing: Slum Goddess of England


Hardy, in turn, manages the feat of being both one of the most thoroughly despicable protagonists I can think of and also the most compelling aspect of a brilliantly acted and scripted series. His Freddie is a fast-talking, psychotic hedonist; a primal animal driven by lust, booze, violence and power. He makes Joe Pesci’s Tommy DeVito look like a good fellamorally speaking. The extent of Hardy’s dramatic rangeeven if it’s an iteration of Hardy we’ve seen multiple timesis commanding, especially when he’s at his breaking point.

tom hardy and nicholas day the take

“Have ya seen me meds, Da? I believe I’ve gone in a bit mental!”

His character can pretty much be summed up in an early exchange with his boss’ flirtatious sister.

“You’re pushing your luck,” she cautions him.

“Yeh, well that’s what I’m good at,” Hardy responds through a crooked smile.

I have few knocks on The Take, although I have to mention the show’s laughable opening credits. Perhaps to draw in viewers with fireworks, perhaps just out of poor British taste, the show’s seriousness abruptly cuts to a trying-too-hard rock-riff featuring high-contrast graphics of Tom Hardy doing badass things. It’s a clear Guy Ritchie ripoff, and about as tone-deaf to the show’s gravity as re-dubbing the beginning of Schindler’s List with an Andrew WK ballad.

But all said this is a hellishly bleak and well-maneuvered gangster seriesmore Coppola than Guy Ritchieand also an early insight into one of the most compelling actors of his generation. If there’s a reason The Take only has a 7.9 on IMDb, it’s probably because it’s too depraved, and its lead too unlikeable for mainstream audiences and critics to stomach. 

GRADE: B+ / A-
IMDb: 7.9

-Sam Adams

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Best of the Bleak: Eighteen Top Lesser-Known Crime, Thriller and Horror Netflix Instant Titles from 2014

Best movies of 2014 netflix instant
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Consider this post a witches’ brew. The contents started as a liquid composed of every crime, thriller and horror feature on Netflix Instant. Then I cranked up the heat and gave it a year-long simmer, meticulously skimming away the fat and nasty bits. After that, I spent the next three months tasting and testing till I finally had a small saucepan of the darkest, most delectable demi-glace. I then took that shit and poured it over the finest unicorn liver and paired it with a nice barrel of chianti. And now… Dinner is served, cabrones!

hannibal lecter drinking

Bon appétit!

Wait. Did you catch all that?

Essentially what I’m saying is that I spent a year combing through Reddit subthreads, countless hours watching every imaginable film and series on Netflix Instant, and three months writing about my favorite lesser-known titles (along with the help of my partner-in-crime, Adam Fox). I’ve now condensed all this research into a list of 18 of the best horror, crime and thriller features that you may have not seen on Netflix Instant.

Are a few things missing? Sure. No list is definitive, and that’s what next year is for. But consider this a damn good menu, with every item coming highly recommended by the chef himself.

Here’s the list, graded and alphabetically ordered, with titles linking back to our initial long-form posts:

MOVIES
headhunters

Blue Ruin
blue ruinBittersweet revenge. That’s what Dwight (Macon Blair), a dumpster-diving hobo, is after when he hears the man who killed his parents is getting out of prison. Blue Ruin delivers as one of the most beautifully shot, darkly comical and poignant films of 2013. If you liked Shotgun Stories or are simply a fan of revenge and vigilante justice flicks, look no further. B+/A-

Fish Tank
fish tankA charming Irishman enters the life of a teenage breakdancer who lives with her drunk mom and foul-mouthed sister in the slums of East London. Michael Fassbender (pre-Magneto fame) provides one of his best ever performances as a boozy savior who seems too good to be true. This film creates a riveting wave of suspense, despite being the only title on this list devoid of much action or overt violence. A-

God Bless America
God Bless AmericaIdiocracy and the 1970 hippie-slaughter-fest Joe meet Network in Bobact Goldthwait’s blacker-than-black satire on American media culture and narcissism. Bill Murray’s brother, Joel, is phenomenal as an everyman who finally hits his breaking point and goes on a monstrous killing spree… inspired by human compassion. B+/A-

Gomorrah
gomorrahFucking hell, this is a bleak one. Director Matteo Garrone takes a page from Alejandro González Iñárritu’s book and intertwines four slum tales, using the gang-ridden streets of Naples as his canvas. Ranked by A.O. Scott as the sixth-best film of 2008, I’d highly recommend this to fans of Amores Perros and City of GodB+

Headhunters
Nikolaj Coster-WaldauThis fast-paced Norwegian thriller tells the story of an art thief who gets in over his head by stealing from a special ops manhunter. Said manhunter is Game of Thrones‘  Nikolaj Coster-Waldau, who brings all his kingslaying charm to what is perhaps the most throughly entertaining movie I watched all year. A-

In Bruges
in brugesLike I said, “mostly lesser-known” titles. If you haven’t seen Martin McDonagh’s brilliantly wry flick about a pair of hitmen (Colin Farrell and Brendan Gleeson) holidaying in the “fucking fairytale” town of Bruges, consider this a must-watch. For those who have seen it, I cannot urge you strongly enough to seek out The Guard, starring Brendan Gleeson as a Bad Lieutenant-esque Irish cop. (I’m quite eagerly anticipating director John Michael McDonagh’s follow-up, Calvary, which hits Netflix DVD queues on Jan. 6). A-

El Infierno
Joaquín CosioThe best lesser-known movie on Netflix Instant. Period. A Mexican man is deported back home from the States, only to find his nation in ruinous drug violence. So what does he do? Break bad and become a narco hitman, of course. Rarely is sociopolitical commentary as entertaining to watch as in director Luis Estrada’s masterpiece. My top recommendation on this list—which would explain why I wrote a fucking novella on it (see link). A

I Saw the Devil
i saw the devilI didn’t write about Oldboy because if you’re reading this, chances are you’ve seen it thirteen times. I Saw the Devil continues in the tradition of Park Chan-Wook’s gut-wrenchingly violent Vengeance Trilogy and is, with perhaps the exception of Oldboy, the best film made in the landscape of prolific gore-horror that is South Korean cinema. Alongside El Infierno and Tell No One, this rounds out my top three recommendations within this list. A-/A

Let the Right One In
let the right one inThis Swedish kiddie vampire tale makes Twilight look like Sesame Street. If for some reason you haven’t seen this, please do—it’s arguably one of the best horror movies ever made. A

The Man from Nowhere
the man from nowhere
At what what point do I just give up and dedicate my entire blog to South Korean revenge movies? That’s a question this grim story of a mysterious Asian Jason Bourne putting his life on the line to save a young girl brings to mind. While not quite as devastatingly sinister as The Vengeance Trilogy, director Lee Jeong-beom’s 2010 flick is every bit as good—and much more action-packed. B+/A-

Stake Land
stake landAside from Let the Right One In, it could be argued that this devilish, little vampire road movie is the best bloodsucker flick since Dusk Till Dawn. It’s basically a much smarter, more artfully crafted and fully realized version of The Walking Dead. Oh, and while we’re on the subject of vamps, do me a fucking favor and skip that hipster trash that hipster critics are raving about, Only Lovers Left Alive. I consider Jim Jarmusch a god among directors, but that was his most pretentious bit of bullshit ever. On a more upbeat note, keep an eye out for the Iranian flick A Girl Walks Home Alone at Night, which I nominate for best horror-film title of 2014. As for Stake Land… A-

Tell No One
tell-no-oneMichael Caine named this 2006 French mystery thriller as one of the top ten movies ever made. While I don’t fully agree, I also wouldn’t call that hyperbole. This story—about a doctor who uncovers a secret about his dead wife—somehow manages the task of being both one of the most beautiful love stories and most action-packed thrillers in recent memory. One of my top three picks on this list. A

The Taking of Deborah Logan
the taking of deborah loganThe found-footage genre finds new life in this jump-out-your-seat scary flick about a lady with Alzheimer’s who becomes possessed by demonic forces. While my smug, Masshole co-writer Adam Fox may disagree, I’d easily call this one of the best horror movies of 2014. B+/A-

You’re Next
You're nextAn Australian survivalist chick winds up at the dinner party from hell as a cast and crew of mumblecore jag-offs redeem themselves by creating one of the best slasher films in years. If there was any justice in this world, Dwight Twilley would win an Oscar for “Looking for the Magic”—which director Adam Wingard uses immaculately here.  B+/A-

SERIES
peaky blinders

Black Mirror
jessica brown findlay sings in black mirrorDid I just give a shout-out to Adam Fox? He’s the guy who’s been writing up Black Mirror for this here site. Charlie Brooker’s series of seven (so far) unrelated stories is a menacingly bleak futuristic take on technology, dystopia and human fallibility. So far we’ve posted on Fifteen Million Merits (B+), a glimpse of what happens when The Running Man meets American Idol in hell; and The National Anthem (A-), which deals with a British prime minister deciding whether he should follow through on a terrorist threat to fuck a pig.

Happy Valley
blogIf you haven’t watched Happy Valley yet, perhaps it’s for some of the same reasons that it took me so long to get around to it: The marquee image on Netflix displays an unknown, middle-aged actress in a British cop uniform. Meanwhile, there are several other British series plastered on the same page containing well-known actors in their prime, like Idris Elba, Cillian Murphy and Benedict Cumbertwat. So why should you choose Happy Valley, a show about a small-town detective who gets involved in a high-stakes kidnapping case? Let the record state that I am not comparing it to Breaking Bad… but it is the best show I’ve seen since the best show ever made ended. That’s why. A

The Fall: Season One
The FallThe Fall is perhaps one of the most intelligent cop shows on TV this side of True Detective, and now that Rust and Marty are out of the picture, Gillian Anderson’s lead as icy investigator Stella Gibson is perhaps the best character in the genre. The only downfall of this first season—which trails a sadistic Belfast serial killer—is that it left us with an asshole of a cliffhanger. Quit dicking around, BBC—deliver the goods! A-

Peaky Blinders: Season One
peaky blinders“When you walk through the garden…”. That was the line that Tom Waits opened episodes of The Wire with. “Take a little walk to the other side of the tracks” is the line Nick Cave opens Peaky Blinders with, and his “Red Right Hand” is the best intro song to any show since David Simon’s deservedly heralded series. There’s also a lot of other awesome shit happening here, like Cillian Murphy—as the leader of a Birmingham street gang—slashing people’s faces with razor-embedded scally caps. Blinders isn’t the most highbrow fare, but its first season is one of the most entertaining pieces of television I’ve seen in years. The second season falls a little short, but that’s another story for another time. A-

-Sam Adams

NOTE: A big year-end thanks to everyone who’s patronized this site, commented on it and given their support over the past three months. It means the fucking world. Also, a huge thanks to my man Adam Fox for helping me keep the ship afloat. We’ve got much more in store for 2015!

The best of Netflix Instant if bleak, thrilling cinema is your ASMR: Part I

BBC crime shows
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Autonomous sensory meridian response (ASMR) has quickly become the Internet’s answer to Klonopin. Unfortunately, I don’t happen to be among those lulled into a happy place by videos of 15-year-old girls whispering about how it feels to wash their hands with a bar of texturized chamomile soap. No, my go-to for bedtime relaxation comes more in the form of films and shows that rely heavily on, say, depictions and existential conversations predicated upon bodily dismemberment.

Buffalo Bill

The title of an ASMR video I would watch

Why? I have no clue. And for the moment, this isn’t about why (although I’m sure I’ll have to tackle that at some point). The underlying crux of this blog series is to foster a space for recommending and discussing some of the best and most gruesomely soothing films/shows out there. If you consider Winter’s Bone, True Detective and The Descent to be among the past decade’s seminal moving-picture achievements—and are simply craving more, but don’t where to turn—then welcome.

If you’re as obsessed with these genres as I am, you likely know that spending half an hour on Google attempting to find something that fits within their parameters is, nine times out of ten, an exercise in futility.

To that point, I’m simply sick and tired of every “Best on Netflix you might not have seen” list trying to convince me that Drinking Buddies, Don Jon and Prince Avalanche aren’t somehow going to make me head to Hollywood and craft a Buffalo Bill-style human-skin coat out of Joseph Gordon-Levitt, the Duplass Brothers and Diablo Cody.

Seriously, I will wear that shit in public to boycott the premiere of Greta Gerwig and John Kransinki’s newest project about a couple of upper-middle class white people who wear flannel and resolve emotional issues to the tune of ten Kimya Dawson songs and then learn something about themselves. (It’s still in the works, but I believe they’ve tentatively titled it We Are Here Now and Were There.)

Indie trash

Yeah, yeah, go fuck yourself.

I digress. What we’re talking about here is your dark minds benefiting from the rotten fruits of my labor. Said “labor” being perhaps an unhealthy amount of man-hours browsing reddit subpages over the past year to provide you with some of the sickest, most brilliant diamonds in the rough that you can access through Netflix Instant. Why this specific portal, you ask? Because everyone and their grandmother’s fuckin’ cousin has it, I respond.

So, without further ado, I think it’s time we talk about Kevin… er, shows and movies. Let’s talk about shows and movies. Here’s our genre for the first installment:

BBC (BADASS BASTARDS AND COPPERS):

Peaky Blinders
Fuck, I thought at first. Cillian Murphy as the leader of a Birmingham street gang that slashes peoples’ eyes via razor-embedded scally caps? It all sounded good outside of Cillian Murphy. While he was great in 28 Days Later (and sure, he was Scarecrow in the Dark Knight films), the guy is prettier than the love child of a young Rob Lowe and Kiera Knightley donning a powder blue bunny suit. So, me asks, how the fuck is Cillian gonna pull this off?

No worries, mate. By the end of the first season, I’d rather cross paths with Bane in a dark alley than serve the menacing Thomas Shelby with an improper shoeshine. Oh, and speaking of Bane, Tom Hardy enters in the forthcoming Season 2. My knickers are already wet.

cillian murphy

The baddest pretty boy since Gosling in Drive !

About that title: Yeah, it sounded pretty goofy to me at first—as it might to many Yank viewers. Rest assured, Peaky Blinders is not about a middle-school boy with a hot neighbor and a pair of binoculars.

So how would I sum it all up? It’s essentially a hybrid of Sons of Anarchy and Boardwalk Empire, with a little splash of Gangs of New York. Thomas Shelby is Jax Teller, if Jax Teller operated out of Birmingham in the early 20th Century. He’s a young, dashing, masterfully calculating gang leader who couldn’t tell you what fear was if it bit him in the ass. But along with the calculation, there’s some stoicism, which is why I also see a bit of Nucky Thompson in him. And if this show catches on, a whole new wave of Jimmy Doherty-esque haircuts will be lurking around a hipster cocktail lounge near you.

peaky blinders

Party like it’s 1919…

As for drawbacks, it’s completely overstylized—almost to the point of camp—but that’s also what makes it kind of fun. Why not play a Nick Cave ditty as a smartly-dressed chap walks through the streets with flames billowing at his back while obsequious townfolk quiver in his wake? This is exactly what Hell on Wheels was trying to pull off (and “Red Right Hand” is one of the best intro songs since The Wire tapped Tom Waits). Perhaps Peaky Blinders ain’t as highbrow as the first two seasons of Boardwalk (let’s be realistic, that show went to shit), but it is some bloody and fiendishly good fun.

SEASON ONE GRADE: A-
IMDb: 8.5

Happy Valley
Many bemoan the downfall of the American version of The Killing after that horrible cliffhanger in the first season. Fair enough, but I stuck with the show simply because, well, it was gloriously dark. And I have yet to encounter better cinematographic use of a geographical environment this side of Breaking Bad or Twin Peaks. Oh, and Holder was just one hilarious, bad-ass honky. 

The man, the myth, the Holder

The man, the myth, the Holder

The reason I bring up The Killing is because of how strikingly similar it is in theme and general aura to Happy Valley. Detective Catherine Cawood is a slightly mentally off-kilter, divorced female cop with a dark past and a son who intermittently hates her. She also lives in a town that is perpetually gray, is constantly trying to quit smoking, likes sleeping with married men and is, despite her uncontrollable moodswings, highly efficient and always right when everyone else doubts her. Sarah Linden, anyone? (Speaking of striking similarities to other shows, there’s this turtley little weasel of an accountant who looks like Wormtail from Harry Potter and is the embodiment of Walter White back in his Mr. Chips days. Great character.)

Unlike The Killing, the six-episode-long Season One of Valley delivers. I mean, it fucking delivers. And between involuntary smack injections, basement rape (yeah, that stuff’s hard even for me to watch) and dousing children with gasoline, grimness is Happy Valley’s oh-so-sunny calling card.

"Pardon me, would you have any Grey Poupon?"

It ain’t exactly, “Pardon me, would you have any Grey Poupon?”

While we’re on the subject of female-detective BBC shows, if you’re choosing between this and Top of the Lake, take the advice of the great Bob Dylan, babe, and don’t think twice. Apart from one great character, Top of the Lake is pretty much the bottom of the well when it comes to BBC cop series.

Final note on why you should watch Happy Valley: The fella that plays the pseudo-psycopathic Tommy Lee Royce (James Norton) is the second-coming of Tom Hardy. Guy has serious acting chops, and he’s certainly the sexiest sexual deviant psychokiller since Jamie Dornan in The Fall. Speaking of which…

SEASON ONE GRADE: A
IMDb: 8.5

The Fall
Perhaps the hardest thing to get past in the first episode of The Fall is just how flawlessly fucking fair Gillian Anderson’s skin is. That skin is fairer than a cup of tea sipped quietly by Monet in a field of wheat on a fine spring day. I mean c’mon, she was Scully before Vince Gilligan was out of his screenwriting diapers. … But yeah, after that Duplass Brothers skin-coat thing, maybe I’ve been talking about skin too much. Fun fact: Did you know that Ed Gein lived 30 minutes from where I’m writing this? (Don’t worry, I don’t have an epidermal fixation or any skeletons in my closet. I’m just being tongue-in… whatever-you-call-that-space-beside-the-teeth-where-there-used-to-be-flesh.)

The Fall

“Why yes, I believe that is me in The Birth of Venus.”

Moving on, The Fall is yet another grim, tension-riddled cop-thriller with a bad-ass female lead investigating a spate of killings. (For whatever reason, feminism seems to be alive and well in the cop-vs.-serial killer genre.) While there are any number of comparisons that could be made between The Fall, The Killing and Happy Valley (the mood-setting bleakness of Belfast, say), this show does women coppers the service of a portrayal that’s the exact opposite of that “off-kilter and mentally distressed” blueprint.

Gillian Anderson is brilliant, and her icy depiction of investigator Stella Gibson leaves little room for sentiment, nonsense or anything other than heady police work. That’s good. Because the sadist she’s tracking (Jamie Dornan) is a perverted family man who gets off on choking his victims to death and then scrapbooking about them with artwork that is unsettlingly exquisite.

As the body count piles and the investigation deepens, the tension rises to a pitch that makes The Fall arguably as engrossing as True Detective. Of the three shows I’ve discussed, this one is probably the best. The only disappointment is that Season One is criminally brief (5 episodes) and ends with an asshole of a cliffhanger.

And by the way, John Oliver can shove it. Jamie Dornan is so my Christian.

SEASON ONE GRADE: A-
IMDb: 8.2


Final note:
Consider all three of the aforementioned shows as far superior to BBC-via-Netflix Instant alternatives like Luther, Sherlock and Top of the Lake. British Stringer Bell, er, Idris Elba is great in Luther, but the show lacks the depth of Happy Valley and The Fall, and the entertainment value of Peaky Blinders. And by “depth,” I’m talking about that intangible quality that distinguishes a great cable show like Breaking Bad or The Wire from, say, a regular-channel favorite like Law & Order (again, another topic I’ll save for a rainy day). As for Sherlock, Benedict Cumberbatch exudes a particular brand of smug that just pisses me off, and his Holmes offends my boyhood notions of a beloved literary character. The show is also completely overstylized—just not in a good way, like the way Peaky Blinders makes me eager to sew razor blades into my cap.

-Sam Adams