Film Review: Armageddon Time

Gray exists in a strange position in cinema: he has never had enough mainstream hits to be able to fund his own films to avoid studio interference; but, his films require large enough budgets that force him away from smaller independent productions where he could have more control. Instead he sits inside the studio system constantly battling to gain artistic freedom within, with his films often getting edited or changes in ways he never wanted - most notably with his previous film Ad Astra. 

However, his most recent film — Armageddon Time — is a much more controlled and reflects his vision accordingly; a portrayal of Gray’s early childhood on the cusp of Reagan’s enormous, yet catastrophic, victory in 1980. Ten year old Paul Graff (Banks Repeta) is essentially a symbol for Gray, he wants nothing more than to be an artist in life, and through the film reflects on key events and interactions that formed not only him, but neoliberal American society as a whole. Although Gray isn’t reflecting through rose tinted glasses and offers a much more harrowing insight to an artist's past than frequently depicted. Immediately coming to mind is Truffaut's The 400 Blows, where every teacher, older brother, parent etc feels like an oppressor rather than someone looking after you.

Sentimentality is frequently siphoned away from the drama of the film, but that isn’t to say this isn’t a personal film. Gray once referred The Immigrant as his most personal, a film about his grandparents journey to America, and you can see how that is built upon through Armageddon Time; Paul’s grandfather (Anthony Hopkins) actually mentions traveling to Ellis Island during his own journey to America, which is a key plot point of the former film. Personal filmmaking seemingly comes second nature to Gray, his films focusing more on emotional power than any complex narratives. In this sense this film feels very classical, like old Hollywood films that tell simple tales but resonate deeply with the viewer.

This classicalism comes not only in the story structure but in the film's images. Gray’s style often basks in simplicity but creates very precise compositions that can look very beautiful. Using door frames or windows to position us away from the characters to display their isolation or guilt; or using deep shadows to perfectly light a scene, highlighting every important facial expression or gesture. Armageddon Time is his first foray into digital filmmaking but he and cinematographer Darius Khondji (Uncut Gems, Se7en) still manage to display a highly textured 80s New York, capturing all of its grit and vibrance.

Self loathing and inescapable guilt are two constant themes in Gray’s, his characters finding themselves trapped by their own remorseful mistakes. That being said it is little surprise that a film about childhood in the 80s would fall into display the guilt of white privilege, and a child’s discovery of that. Paul only finds true friendship in Johnny (Jaylin Webb), a disenfranchised African American boy whose disillusionment with the world reflects in his own acts of rebellion. Johnny’s characterization and narrative progression are unarguably weak, almost becoming a symbol for Paul’s own growth; a trope which serves little to actually tackle real political issues. However, it is easy to forget we are seeing the world through Paul’s youthful worldview, which in turn is Gray’s own experiences. Gray doesn’t seem to be seeking atonement from the viewer, rather to display his own perception of the birth of neoliberal American.

Class and race are not the only themes running through the veins of the film however, the film tackles a myriad of things from coming to terms with the actuality of death to refusing to follow a private school career involved in politics or shareholding. Mostly at its core is the films representation of Jewish life and how Paul’s family assimilated into American life after fleeing their home country of Ukraine from antiemetic persecution. Paul’s grandfather tells him the horrors his family faced; whereas Paul’s father (Jeremy Strong) constantly tells him he wants him to avoid the struggle of working class life he faced growing up,  which frequently is personified as frenzied rage when he learns of Paul’s failings. The film’s scattershot themes is both its strength and biggest flaw, the messiness reflects the mindset of a young child, who only grasps small parts of the world; however, it can also be frustrating as it feels the film never fully develops a single idea.

Armageddon Time is an intricate film about one of the most complicated points in a person’s life. Whilst it is not as emotionally poignant or as rich as some of Gray’s best work, and its handling of certain aspects of the story come off as miscalculated, there is a lot to enjoy here. Everyone gives a great performance, with Anne Hathaway being the specific highlight, and the film constantly looks beautiful. Gray once said that he gets his worst receptions in the UK, hopefully this film is the one to change that; or at least get people to revisit his incredibly underappreciated filmography.

Armageddon Time is showing at Broadway Cinema from Friday 28 November