Modern Horror Series : We Are What We Are (2013)
Dinner Time
Released : October 25th 2013
Certificate : 18
Director : Jim Mickle
Cast : Julia Garner, Ambyr Childers, Bill Sage, Michael Parks
Plot : A family with an ancestral tradition find their rituals threatened when the mother dies of an unexplained cause. This leaves the daughter (Childers) with the duty of performing the family’s yearly acts.
We Are What We Are became noticed via its appearance at the Cannes Film Festival in 2013, it was up for a minor directorial nomination. The film was since meet with across the board positive critical success. Director Jim Mickle has gone on to have similar small film critical success with the equally dark and violent thriller Cold In July (2014). The film’s most abstract plot is that of a family with a cannibalistic ritual living in a secluded American town. The advertisement campaign didn’t boast this feature too much, and rightly so, as to label the film a straight out cannibal horror would be wrong.
For horror fans that are hoping to see a full blown flesh eating riot, they will be disappointed. As while this film is definitely horrific in parts, the film is more alike a family drama with sharp gothic atmosphere and horror sequences. The spends most of its time with the relationship between the children of the family, and their relationship with the father. Behind this is a slight religious aspect as the father believes the family has gained a level of purity from their rituals. So this is worlds away from a The Hills Have Eyes type cannibal film. This makes for a unique experience that for the whole works very well and provides some edge of the seat sequences, however pacing does become an issue. The highlights of this film is the two lead characters, the daughters, Rose (Garner) and Iris (Childers). These teenage actors bring a heightened level or performance that carries the film, and it’s the most impactful aspect. They carry the film in the sense that for a horror that devotes much of its time to drama, these performances needed to be solid in order to make the film work. The themes the children deal with in this film such as innocence and duty are gripping as well, equally to that of the violent sequences. These performances also balance out what is at times an over the top performance from the father figure (Sage).
Other positive aspects are that of the atmosphere that the film builds. There film as a strong gothic feel to it, which while is achieved with recognisable tropes, it is executed very well. This may be a flaw for some audience, as with the ‘scares’ being few and far between, some might understandable not be hooked by the atmosphere and the acting alone. Which is the man flaw in the film, is that it does drag in parts. This is mostly the price that the film pays for being tasteful with the cannibalistic side of the film, and focusing on something more character driven. The film takes time with its atmosphere building and character setup, which does mean the first act of the film fairly weak and the dialogue isn’t gripping enough to keep you totally engaged. By the second act it is worth it though as the film picks up, from both a character drama viewpoint and a straight out horror one. But the film doesn’t quiet manage to shake off the tropes of the gothic genre that it uses throughout, and when you combine this with the fact the film doesn’t use many conventional horror sequences (e.g. violent flesh eating and murdering), it can be easy to see how this horror is acquired taste which does require a patient cinema goer.
We Are What We Are is a bold piece of horror filmmaking which although uses conventional tropes, it is very refreshing to see a film of this genre that focuses more on characters and their arcs, rather than just resorting to blood and guts. The film does also have a couple of twists and turns to keep the narrative interesting, some are predictable, some catch you off guard. And what the film is mostly famous for is its final sequence which is rightfully left out of the trailer and is a more conventional violent treat which will please audience not hooked by the dramatic elements.
Verdict : An unique horror film with a refreshing level of depth and acting, but a script and a few more thrills to match would have helped.
Verdict : 3/5
Quote : “We have kept our tradition in its purity.”
Nebraska Review
Million Dollar Grand-dad
Released : December 6th 2013
Certificate : 15
Director : Alexander Payne
Cast : Will Forte, Bruce Dern, Stacy Keach, June Squibb
Plot : Believing he has won $1 million in a online lottery, an elderly Montana pensioner Woody Grant (Dern) decides to go on foot to Nebraska to revive his supposed winnings. Compelled by his persistence and total belief Woody’s son David (Forte) is forced to drive is father to Nebraska.
This was yet another moving and thought and thought provoking instalments from Alexander Payne, who seems to effortlessly produce picture that are inclined to make us stop and think before we get up from the seat in the cinema and walk away. And his latest venture with Nebraska, while may prove slower to watch, and has to be said does not provided many thrills (apart from an old lady telling her family to go and fu*k themselves, have no choice but to love June Squibb), the devil is in the details. I marvel at how Alexander Payne can look at life and project it onto our screens with such a harsh truthfulness. And with Nebraska the effects of which are uplifting in parts, but maybe prove to be too much for what some to consider an entertainment motion picture.
Nebraska is by far Payne richest story so far, with relatable characters shown through Oscar worthy performances, and a very potent decision to produce in black and white. The most notable performance of which is Bruce Dern , who deservedly revived his nomination for the Best Actor Oscar. His portal of Woody Grant, is both believable and mesmerising, his frantic desperation of the wealth over weighing his relational mind is beautifully executed, and lead to an almost unbearably truthful ending.
He is supported by brilliant supporting performances from the like of June Squibb who stars very much as the comic relief of the film. With an overly animated character, in scenes almost being seen as a cartoon of a grumpy old woman, is a welcome splash of colour to the film. And also from the main supporting role of Woody’s son played by Will Forte, his kindness and protection of his father proves to be moving in parts. All brought together to make a utterly compelling cast, who are a joy to watch, even if the film isn’t. Payne again easily manges to search out the depth of our conditions and means. And presentment them to us in a story that is metaphoric and majestic.
Verdict : $1 million dollars, worth ever penny.
Verdict : 5/5
Quote : “I never even knew the son of a bitch wanted to be a millionaire”
Rush Review
Ron Howard’s Racing Dilemma
Released : September 13th 2013
Certificate : 15
Director : Ron Howard
Cast : Chris Hemsworth, Olivia Wilde, Natalie Dormer, Daniel Brühl, Alexandra Maria Lara
Plot : The true story of the rivalry between Formula 1 racing drivers James Hunt (Hemsworth) and Niki Lauda (Brühl).
This was a, pleasant sounds like the wrong word, more like a, ranchos surprise, and an aptly named rush. Ron Howard has redeemed himself after the also aptly named (but for the wrong reason) dilemma. And has has come back with a reckoning, no M. Night. Shamala story here. And we are very happy to have him back, as I have never seen such excellence and excitement derived from a film about racing.
Now a part of me thinks this is because I was not familiar with the incredible true story, but luckily this is not the case. As its equally enjoyable to watch whether or not you know the true story, due to enthralling directing, well cast suited performances, and entertaining script, also the film contains in certain section a slight Michael Bay vibe, for better or for worse depending on where you stand.
The performances from Hemsworth and Brühl create the perfect chemistry to reflect the story’s real life character, whilst at the same time make for entertaining dialog. The casting choices for the leads were perfect and both well known actors delivered well, feeding of each others performances, to make it a sport rivalry that’s believable and moving, even to a extent where it questions to true meaning of a arch enemy and what that provokes. This effect provides the audience with the interest and completion, in order to care how wins the races.
And this is where the really comes into its stride, with Howard making you hold your breath as much in a F1 car as he did in a spaceship. For this film provides some of the most exciting and tense senesce of any racing film, certainly the best in the area of F1 due to the lack of detail this has been explored in through motion picture. With tie blow outs, overtakes, spin outs, and crashes, Howard brilliant orchestrates all the aspects of the races to produce a multilayered, clear representation of what’s happening round the bends. Whilst keeping us on the edge of our seats , with a good rationing of slow-mo footage where needed and brutally realistic crashes. Ron Howard can prove that in the drivers seat he can still deliver intensely vibrate films, despite what vehicle it is. One can only wonder what the next will be, Premium Rush 2 hopefully.
Verdict : One of the most entertaining and enthralling racing films ever made.
Verdict : 4/5
Quote : “Hunt, rhymes with c*nt, a word that would describe you perfectly “
Only God Forgives Mini Review
We All Prayed For Something Better
Released : December 2nd 2013
Certificate : 18
Director : Nicolas Winding Refn
Cast : Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm, Tom Burke
Plot : Julian (Gosling) runs a boxing club as cover for his family’s drug business. When his brother (Burke) is killed by a local policeman to avenge the murder of a prostitute, Julian is forced by his mother (Thomas) to seek revenge, but the policeman responsible for the execution is rumored to have supernatural abilities.
This was one of the most anticipated films of the year, and anyone who has Drive would understand why. The blend of Ryan Gosling quite, cool visceral performance, with Nicolas Winding Refn stylish, violent, enthralling presentation, Drive was well revived and will not befit gotten soon.
So this follow up collaboration between actor and director had a lot riding on its shoulders. The film has revived mixed reviews, an has become very much a marmite film. But all things considered, this is not only a disappointing second effort from the duo, but also a simple boring film, that just doesn’t keep you tense and eager in the same way that Drive. This films pace is subdued, even in the action scenes, due to directing is just to relaxed to evoke any reactions from the audience.
Despite having the same stylish vibe and well directed scenery, and even Gosling to a certain extent being able to retain his effective passive style of performing. The over all pace and story does not translate into the same emotional entertaining ultra violent film that we would even come close to the standees of Drive.
Verdict : 2/5
Quote : “Wanna fight”
The Top 13 Films Of 2013
The first Christmas of the blog, and to celebrate we have put together our selections of the best films of the year. Readers will have to take into account that we have been unable to see all the brilliant films that have been released this year, but together we didn’t miss out many. Out of the films that we have been able to see that were released in 2013, these were our favorites.
13th
The World’s End
The final film in Edgar Wright’s Cornetto Trilogy sees Simon Pegg and Nick Frost reverse their respective roles as straight man and goof to allow Pegg to revel in the role of Gary King, whose teenaged antics left friendships tattered in their wake. Years later he reunites his sixth-form chums (Frost, Paddy Considine, Martin Freeman and Eddie Marsan) to embark upon a bar crawl left unfinished 20 years previously. The madcap action, exquisite chemistry between the principal actors and confetti-like shower of jokes make The World’s End an exhilarating ride, more than making up for the fact that it really doesn’t make much sense.
12th
The Conjuring
This was the new film by James Wan this year, and he was back on top form, with what might have been his best film since Saw! The Conjuring is based on the “true” case files of the paranormal investigators Ed and Lorraine Warren, as they help a family that is terrorized by a dark presence in their new house. It sounds like a story that has been told a million times before, and it is essentially. But just because a genre has been made so brilliantly and frequently, doesn’t mean it can be done again, with a new air of creepiness and with the help of one of the horror juggernauts of the decade that is James Wan. Wan is able to combine his ability to build an eerie atmosphere and then bring in a genuine jump out of your seat scare better than most. He also has good fun with a particularity suspenseful exorcism as a climax (oops, sorry, spoilers included). What makes this horror film such a chiller is that it deals with all the aspects of modern horror that deal a real scare factor, if you leave out torture porn. As it deals in possessed objects, old dolls, exorcisms, camera recorded scenes, ghosts and the church. James Wan beautifully molds these altogether to make what is in my mind the best horror since Insidious (which is another terrifying film from James Wan). Wan never fails to shock or scare us. Don’t watch alone.
11th
The Hunger Games: Catching Fire
This is the second film adaption of the bestselling book series. (WARNING SPOILERS) This film picks up shortly after the previous ended, with both Katniss Everdeen and Peeta Mellark, having outsmarted the system and survived the 74th Hunger Games. Now, after a year of travelling the districts to give speeches, honor the families of dead competitors (and become a unintentional symbol of hope and rebellion), the 75th Hunger Games arrive. And this time an evil plot is devised by President Snow (Donald Sutherland) to remove the infectious symbol of rebellion: this years Hunger Games will be between previous winners. Just by reading this summary, you can tell this film has a lot more story than the previous, but that is down to the superb work of author Suzanne Collins. Don’t let that fool you into thinking that this means that the quality of the film making is disappointing, its the complete opposite. Unlike most, I found the first Hunger Games boring and shallow. So you can imagine, I was point off by the perfection of the film, when I sat down to watch what I thought would be 146 mins of children stabbing each other and crying. Which in essence that is what the film is, but anyone who has seen Catching Fire will tell you that there is so much more to the film. As the side of the film where Everdeen and Mellark are interpreted by the people as a weakness in the armor of the oppressive government just makes you want to punch the air. Another highlight is still Everdeen and Mellarks relationship, inside and outside the arena of the Hunger Games. So the film moves away from the core subject (of children trying to brutally kill each of to survive ), and focuses with great detail on what Everdeen and Mellark started in the 74th Hunger Games. And in turn what impact the Games had on them and the people. Making you want to really rally behind Everdeen and route for her all the way. The only negative I can think of is that they have decided to make the final book in 2 parts, like all big franchises feel they need to do ever since the Harry Potter series, hopefully they can keep up the good work. They had better after such a brilliant cliffhanger ending.
10th
Much Ado About Nothing
Joss Whedon’s adaptation of the Shakespearian comedy sets the action across a borgeois week-long shindig in modern-day California, complete with party frocks and flowing alcohol. The black and white cinematography and simple camerawork give Shakespeare’s rich language ample room to breathe, while the well thought-out staging and on-point delivery make the material accessible. The cast are all well-suited to their roles, most notably Nathan Fillion as Dogberry displaying comic timing so precise you could set your watch by it, and Sean Maher oozing menace as the villanous Don John. Amy Acker and Alexis Denisof stike a good balance between comedy and pathos as the intellectual rivals who can’t quite seem to stop sniping at one another. A slim 109-minute running time prevents iambic pentameter overload for the uninitiated without compromising on the story.
9th
Wreck-it Ralph
Disney’s early-in-the-year animated offering served up a visual treat as video games past and present, fictional and real, were lovingly rendered in colourful CGI. John C. Reilly voiced the eponymous protagonist, an 8-bit arcade villain who tires of never being invited to the other characters’ parties, and ventures out of his game to become a hero. With visual and verbal gags aplenty and an excellent complement of supporting characters, Wreck-It Ralph is a pleasure to watch. Some standout moments include a videogame villans support group and an inversion of a romance/revenge videogame storyline plot for GI-Jane Calhoun (voiced by the excellent Jane Lynch).
8th
Philomena
Philomena is a film (obviously) that tells the true story of spin doctor Martin Sixsmith, who after losing his job tries to return to journalism. The story he decides to write about is Philomena Lee, a woman who had a child 50 years ago who she was seperated from at a very young age. So the unlikely duo set out to find Philomena’s long lost child. This was not only the film that made the most reviewers happy, but was also the most lighthearted film that managed to involve such serious spiritual and moral issues. So for that reason alone it had to make it onto our list is some way. All you have to do to love this film is to watch it, and like Steve Coogan. Which is something that I know a lot of people find hard to do, as he is very much like Marmite. Luckily I am one of the people that love him, which is why I was so pleased with his genuine acting skills and his brilliantly intelligent script that brings a lot to the story, with both emotional punch, and brilliant humor. Without the humor the film would be harder to enjoy and watch as in many scenes the film can be distressing, and also deals with a topic that is overall sad. But with the added humor, which is better than most would expect, (example of this would be Judi Dench playing an old Irish woman who says the word “clitoris”) it makes the film much more enjoyable and an overall more watchable film. With a very faultless performance from Judi Dench as well. This film manages to handle numerous life issues with intelligence and humor, one of the best British films of the year, if not the best British film of the year!
7th
Les Miserables
Although this film was one of the first of the year for British cinemas, it was still able to remain as one of the most outstanding, also one of the most refreshing and one of the great movie musicals in years (unless there’s a big film I have forgotten). The film was so original and refreshing because of its one big difference to any other films of this type: all the singing was done live on filming (unlike most musicals, where the actor will sing the song in a studio and then will just mouth it during filming). This made it possible for the actors to sing with great emotions and acting skill, which enabled Anne Hathaway her to win an Oscar. Not only is this film very emotional in its story and the songs, the combinations of the striking all around performances, the film really packed emotional punch. The songs are brilliant enough on there own but with contribution from Tom Hopper and a striking cast (Hugh Jackmen, Anne Hathaway, Russel Crowe, ect) the film was really able to to reach perfection, you will be to busy crying to sing along.
6th
Blue is the Warmest Colour
Controversy aside, this year’s Cannes Palm D’or winner is a bold and deeply emotional piece of work that delves into the nature of love, pain and self-knowledge. Newcomer Adèle Exarchopoulos and co-star Léa Seydoux deliver frankly astonishing performances, elegantly captured by director Abdellatif Kechiche’s use of stark close-ups throughout. Food, children and (of course) colour are all used as devices to highlight the difficulty of lead character Adele’s journey of self discovery and the formation and disintegration of her relationship with the enigmatic blue-haired artist Emma.
5th
The Place Beyond the Pines
It was very pleasing when this film turned out to be different to Drive, due to the fact that Ryan rides a bike in this one. But the film might just have matched the perfection of Drive, not only through tense chases and “beautifully” violent hammer scenes, but through a surprising in depth story line and general perfection. The film not only follows the story of a bank robber on a bike who tries to provide for his son, but the impact that he has on the community and how one person can effect so many other lives even after death. With a huge touching story line and great performances its a film that you will recommend even if you cry for a large part of it, always a sign of a good film if you cry.
4th
Django Unchained
This film was the best we had seen from Quentin in a long time. Largely because it was just sheer entertainment and undeniably good fun. Unlike most of his films you weren’t having to cover your eyes at brutal scenes of pure violence and then wonder ‘why am I watching this?’ In this film Tarantino turned his sights on the wild west and made one of the most entertaining cowboy films in a long time. With shoot outs, justices, style, humor and a beautifully written script, this film made for a real treat. Along with a flawless performance from Christoph Waltz and very fun baddie roles from Samuel L Jackson and Leonardo DiCaprio.
3rd
Short Term 12
Brie Larson shines in the lead role as a worker at a halfway house for teenagers with unstable family situations. Neatly scripted and shot by Destin Cretton, the film follows Grace (Larson) as she struggles to reconcile her past troubles in the face of an uncertain future, catalysed by the arrival of Jayden (Kaitlyn Drever), an ostensibly snarky teen whose exterior belies a deeper vulnerability which eerily mirrors Grace’s own. Larson’s performance, along with a superlative emotional arc, place this film amongst the very best of the year.
2nd
Captain Phillips
Possibly Greengrass best film. It contained surprisingly good Nigerian actors which brought brilliant character drama between Tom Hanks and Barkhad Abdi. All three of these men have been outstanding and could be promising contenders for Oscars. One of the best hostage film to date.
1st
Gravity
Perhaps not the most original choice for top spot, but we were very impressed with this tale of survival in the most hostile of places. Director Alfonso Cuarón’s careful management of the 3D effects creates a spectacle of subtelty, with everything looking perfectly in perspective and therfore mind-bogglingly real. The balletic anti-gravity action inside and outside of spacecraft is surprisingly well-anchored in an environment where ‘up’ and ‘down’ have no meaning. George Clooney delivers a solid performance but Sandra Bullock carries the bulk of the film after a collision with satellite debris leave her rookie spacefarer Ryan Stone isolated with an almighty mission to carry out. A tragic backstory for Stone and a smattering of ambiguously presented religious imagery provide some emotional depth, however this is predominantly a movie for your eyes rather than your brain. But what a feast for the eyes it is!
Review: The Hunger Games: Catching Fire
Released: 21st November
Certificate: 12A
Director: Francis Lawrence
Cast: Jennifer Lawrence, Josh Hutcherson, Donald Sutherland, Philip Seymour Hoffman, Stanley Tucci
In 2012 The Hunger Games saw protagonist Katniss Everdeen (Jennifer Lawrence) survive a brutal, Battle Royale-style fight to the death in the fictional world of Panem’s eponymous reality TV competition. Having outsmarted the totalitarian games makers to become joint victors, Catching Fire joins Katniss and fellow district 12 resident Peeta Mellark (Josh Hutcherson) as they prepare to visit the other 11 districts on their victory tour.
Slick, dramatic, and with more than a little backbone behind the usual blockbuster trappings, Catching Fire is one of a rare breed: a sequel that surpasses its predecessor. The Hunger Games struggled with a slightly clunky script and- as a reader of the books, I felt –an over-sanitised Capitol and disappointing failure to engage with the socioeconomic themes of the novel. However, Catching Fire boasts a snappy screenplay which delves boldly into the political trappings of Panem. As rumblings of revolution begin to swell in the poorer districts Katniss is adopted as something of a symbol of hope for the downtrodden, much to the chagrin of the Machiavellian President Snow (Donald Sutherland). An early scene in which Snow pays Katniss and her family a visit oozes dramatic tension, which is only built upon as Katniss and Peeta embark on their tour, forced to smile for the cameras while the police shoot rebellious citizens in the head.
Unfortunately, such is the strength of the political subplot that it effectively outshines what is ostensibly touted as the main event- Katniss and Peeta’s return to the arena in the 75th Hunger Games, where they are pitted against other previous victors. However, a strong supporting cast (most notably Jenna Malone as district 7 tribute Johanna Mason) and well-directed set pieces prevent the action from simply being a rehash of the last film. Katniss continues to be a fascinating heroine- she’s brave, undoubtedly, but realistically traumatised by the horrors she’s witnessed, and is refreshingly frustrated by the romantic demands of her would-be suitors Peeta and Gale (Liam Hemsworth), preferring instead to focus on the task at hand. Lawrence handles Katniss’ emotional range effectively, and explores the hyper-reality of her reactions to turbulent circumstances in a way that is a joy to watch.
Verdict: 4/5
Quote: ‘You can’t put everybody in here!’
A.E.S
Review: Thor: The Dark World (2D)
Released: 30th October
Certificate: 12A
Directors: Alan Taylor, James Gunn
Cast: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Kat Dennings, Christopher Eccleston.
With Avengers Assemble in 2012, Iron Man 3 earlier this year and Marvel’s Agents of SHIELD currently airing on Channel 4, one might think it would be tempting superhero burnout to for Marvel to offer up another Avengers-flavoured cinematic outing. However, the sequel to 2011’s Thor still manages to find ways to keep the format fresh.
Despite getting off to a rather slow start with a hackneyed, exposition-laden opening sequence setting up the backstory of the main villain (Christopher Eccleston’s unfortunately unremarkable Malekith), the film finds its feet quickly within the first act. Scenes on Asgard and Earth are deftly interwoven to tell the stories of events unfolding in the parallel realms. After stashing a post-Avengers Assemble Loki (Tom Hiddleston) safely in the dungeons, Thor (Chris Hemsworth) leads his companions on ‘peacemaking’ trips around the nine realms, which seem to involve a lot of realm-dwellers being Mjolnir’d into submission. After a violent day’s peacemaking he tries not to pine too much for the absent Dr Jane Foster (Natalie Portman). On Earth, Jane is in London helping Erik Selvig (Stellan Skarsgård) with his research and attempting to date non-deities. When an investigation of a gravitational anomaly in an old building accidentally results in the release of ancient powerful maguffin and the awakening of Malakith, Thor returns to Earth to help out.
The script, despite being a little holey (among other things, a love triangle is hinted at but never followed up) and devoid of any credible physics is packed with genuinely funny moments. Portman and Hemsworth provide solid (if slightly bland) romantic leads, leaving the supporting cast (Hiddleston as Loki and Kat Dennings as Darcy) to steal every scene they’re in. There are also a few brilliant cameos, the least of which is the appearance of English dietary staples Shreddies and Digestives at Portman’s breakfast table. The well thought out, space-time continuum bending final battle builds to a satisfying crescendo, and lays the groundwork for further storytelling.
Occasional plot holes, a run-of-the-mill baddie and a formulaic set up are just about balanced out by razor-sharp dialogue, a strong supporting cast and more than a smattering of well-executed ideas.
Verdict: 3.5/5
A.E.S
Review: Gravity (3D)
Released: 7th November
Certificate: 12A
Director: Alfonso Cuarón
Cast: Sandra Bullock, George Clooney
In space, life is impossible. So says the opening caption in Gravity’s short prelude, which soon gives way to a tense, beautiful and deeply engaging tale of survival in the most hostile of environments. The film follows Ryan Stone (Sandra Bullock) and Matt Kowlaski (George Clooney), two astronauts at opposite ends of their space-faring careers (this is her first mission and his last before retirement). The opening sequence unfolds in one long take as Stone and Clooney perform maintenance on the Hubble space telescope, the camera effortlessly gliding around them to take in their celestial surroundings as they exchange banter. The light mood doesn’t last long however, and things go awry when debris from a demolished Russian satellite come hurling through space towards the pair and their shuttle Explorer.
What’s particularly striking about Cuarón’s camerawork is how effortlessly he plots three dimensions onto the screen in a way that is both grandiose and unobtrusive. Objects in frame appear exactly where they should be, from the tiny dust particle floating past the viewer’s eye to the great shadow of the distant Earth. This is no mean feat given that in a zero-gravity environment concepts such as ‘up’ and ‘down’ are very much subjective, however Cuarón handles this with aplomb. The setting of most of the action in weightless environments adds a dream-like quality to Stone’s journey, with the balletic weightless effects achieved by some impressive wire-work. Many shots stand out: the long opener, Stone suspended foetus-like in the womb of the international space station airlock, and the oddly mesmerizing sight of a Marvin the Martian figurine floating at eye-level through a hole in a damaged shuttle are the most memorable among them.
But quite apart from the special effects, the film also works as a narrative, both in terms of thrilling action and an exploration of Stone’s character when stripped of the context of an earthly setting. If one were looking to criticise, the script is functional rather than extraordinary and the narrative becomes a little video-game like in the second and third acts. There is also rather a lot of religious imagery which is featured but not examined, however the viewer never feels preached at and the film remains generally (though admittedly at times frustratingly) apolitical. Bullock and Clooney are compelling leads, with Bullock demonstrating an impressive range in a challenging role. Clooney seems not to stray far from his usual archetype, but it’s something he does extremely well, providing a lighthearted foil for the more nervous Stone.
A ‘special effects’ film, but in the best possible way, Gravity is a thrilling 90 minutes of good storyline, made with a satisfyingly artistic approach to 3D filmmaking.
Verdict: 4.5/5
Quote: “I hate space.”
A.E.S.
Review: Short Term 12
Released: 1st November
Certificate: 15
Director: Destin Cretton
Cast: Brie Larson, John Gallagher Jr., Kaitlyn Dever, Keith Stanfield
Brie Larson (Scott Pilgrim vs the World, 21 Jump Street) delivers a stunning performance in this neat indie drama that revolves around the titular care home for youngsters in difficult circumstances. As Larson’s character, Grace, says to a new staff member in one of the early scenes of the film ‘we aren’t their parents, we aren’t their therapist. We are here to provide them with a safe environment, that’s all.’ But this proves harder than expected for Grace when an unplanned pregnancy and a new arrival at the facility bring her face to face with a past she’d rather forget. What follows thereafter is an effective tale of emotional difficulty, crisis and ultimately catharsis.
Cretton’s script is tightly written, with every conversation serving to advance the story and provide insight into the actions and personalities of the characters. However, the audience is by no means spoon-fed, and Grace’s story is gradually revealed with expert pace, leading to a particularly impactful third act. An almost nail-biting dramatic tension is maintained throughout, but the bleaker moments never overwhelm and are balanced by a wry humour characteristic of people making the best of difficult circumstances. The direction- soft focus, natural light and tight frames- add to the emotional intimacy of the story, and the frequent close-ups never feel confrontational or claustrophobic.
Larson handles Grace’s emotional journey with skill, imbuing her with believability even in the more fanciful scenes, proving she is more than capable of carrying a story. The supporting cast also delight, with Kaitlyn Dever providing a good foil for Grace as the apparently untouchable new arrival, Jayden, and Keith Stanfield bringing surprising depth and vulnerability to Marcus, a quiet and intense teenager whose life is about to change as he leaves the centre. John Gallagher Jr. also delivers a solid performance as the happy-go-lucky Mason, Grace’s colleague and long-term boyfriend.
Short Term 12 is a beautifully made film where every scene slots together to build a whole which leaves the viewer with great a sense of satisfaction that remains long after the credits have rolled.
Verdict: 5/5
A.E.S
Stuck in the Cheap Seats 
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