Enemy DVD Review

Spider Man 2

Released : February 7th 2014

Certificate : 15

Director : Denis Villeneuve

Cast : Jake Gyllenhaal, Mélanie Laurent, Sarah Gadon

Plot : A history teacher, Adam Bell (Gyllenhaal), lives a monotonous repetitive life. One day at work out of the blue a co-worker recommends a film to him, while watching it Adam discovers an extra who is physically identical to him. He takes it upon himself to investigate and meet his double.

Denis Villeneuve and Jake Gyllenhaal second team up of 2013, however this one went hugely unnoticed, surprisingly given the huge critical acclaim and audience praise their other film Prisoners received that year also. But this film did not come with half as much advertising or marketing that Prisoners did, and after seeing the film unaware of the moderate level of chatter that it received due to its confusing nature, it is clear why. As stated, watching it so late after release and completely unaware of the excitement it caused for a niche amount of fans and critics, it gave great perspective. It also made it possible to research the speculations behind the films meaning after viewing to piece together the metaphorical meanings behind the film, and most poignantly the ending. As a film that has gained attention only due to its murky hidden meanings and shocking ending, I high recommend this video which gives a very detailed explanation for everything in the film, but it does contain huge spoilers as well so view film before viewing video     https://www.youtube.com/watch?v=v9AWkqRwd1I     Understanding of the films hidden themes in my opinion is vital to enjoying the film to a greater level, as there a specific meanings to the film, it is not polysemic or open to interpretation.

The film is by no means a straight doppelganger feature, as I was expecting, viewing purely out of respect for the actor and director. If a straight doppelganger is what is desired, then The Double will make for much more grounded and clean cut thriller about identity issues, despite its striking directing and cinematography. Regardless of fully understanding the film on first viewing or not, it will undoubtedly make an impression on the viewer. It is easy to see why many might instantly dismiss the film due to its unsettling nature and very dark moody themes. Equally upon the discovery of the films hidden meanings, many could easily reject the film still due to its unapologetically obscure way to deliver its message (which many could claim is deliberately obscure for the sake of gaining attention and praise, not for the sake of quality cinema) as well as again still the issue that its vibe is not one many would classify as entertaining.  For these reasons it is very much a Marmite film, both for critics and audience members, but it can’t be denied that it is an extremely unique cinematic experience, alike Only God Forgives in many respects.

Villeneuve work in this film was complimented beautifully with the addition of little known cinematographer Nicolas Bolduc. Bolduc work in this film may be too obverse and over the top for some, as the dark green tinge brought to the screen for some may overdo emphasis the films dark mood which is blatant enough with the story. As he recreated with Sicario, Villeneuve use of both rolling landscape shots and claustrophobic tight obscured shot presents the film in a way the greatly compliments the films tone. For directing, the story of Enemy is most likely on of the best suited to Villeneuve style, unfortunately that story is not one that appeals to the wider audience. Other tastefully skilled shot choice from Villeneuve are the soaring high shots over the apartment buildings as well as the very imaginative presentation of the interaction between the two Gyllenhaal characters interaction, which was vital due in first meet due to the tension built around the meet, and Villeneuve pitched it perfectly to leave the viewer feeling unsatisfied and threatened. As far as Villeneuve directing is concerned, he has cemented his style and film type with a hat trick of dark thought provoking thrillers which always remain with the viewer long after the credits have rolled.

Now for Gyllenhaal, who with this film demonstrates his great versatility as an actor, by playing two characters in the film, not a hugely radical move, but much less celebrated than Jesse Eisenberg in The Double or must recently the hugely publicised Tom Hardy performance in Legend. For a most part as with many doppelganger films, the two characters are needed to be polar opposites of each other, true in this case. Gyllenhaal throws himself into this role as he did with Prisoners for Villeneuve, as an actor who is renowned for his involvement in darker roles, he is a wise acting choice for this film. The skill of the performances grow throughout the film as the drama ensues and the emotions fly, but the performance is likely to be looked over by fans due to the characters being most subdued and grounded (despite topic matter) than many of his other roles. Because of the subtle characters, the meeting and discovering isn’t fully grounded as much as it could have been via Gyllenhalls performance, but is done well by the supporting roles of Mélanie Laurent and Sarah Gadon who are partners to each of the Gyllenhalls.

Villeneuve and Javier Gullón (screenwriter) have made a very bold film here, since the book the film is inspired by (The Double) contains none of the creepy imagery which the film was made famous by. Taking such a new approach to convey the themes that the book holds is a great skill, and seeing Villeneuve imagination flow in the dark recreation of Toronto is brilliant in the sense it lets this dark director off the lead. It could be said that watching the film so late gave the vantage point of Sicaro, meaning the director is more widely respect now, adding to Enemy’s prestige. But this doesn’t take away from its skill, as many of his now trade mark directorial action can be seen in this film. It is undeniable also that the discovery of the films hidden meanings adds a great amount of appreciation for the film, as much more is going on under the surface of the film. But also while the end result may scramble your brain, on first viewing the strength of Villeneuve and Gyllenhall are still noticeable, while you might not know to what end. A dark mind bender that credits re-watching after research and understanding to result in a rich, well thought out thriller.

Verdict : Things are never as they seem with Villeneuve. Enemy is a film mystery that can stand tall with Prisoners and Sicario creating a trio of exceptional dark thriller. Not for everyone, but a grossly unacknowledged unique film.

Verdict : 4/5

Quote : “Chaos is order yet undeciphered.”

 

The Drop DVD Review

Gandolfini Final Hustle

Released : November 14th 2014

Certificate : 15

Director : Michaël R. Roskam

Cast : Tom Hardy, James Gandolfini, Noomi Rapace

Plot : A bar in New York is run by Marv (Gandolfini) and cousin Bob Saginowski (Hardy), who both look the other way as local mobsters use the pub as a drop off for cash. The two routinely help the money change hands within the bar, until one night their robbed for five thousands, placing them in deep with the mobsters.

World class television series and film actor James Gandolfini last film is released after his untimely death. Gandolfini granted will not be remembered for his film performances as much as his Golden Globe winning iconic role in The Sopranos as Tony Soprano, a family man who is forced to juggle home life as well as his involvement with the mob. Hence Gandolfini is pitch perfect type cast for The Drop, a small crime thriller about cousins who run a bar in New York for the mob. The film tackles issues such as family ties, past glory, desperation and neighbourhood history, all wrapped up in a simple small story with complexity and character count alike that of A History of Violence or Drive. Meaning a film dealing with crime, but with more subtlety and scope than many of cinemas greatest crime outings, this doesn’t mean that less is more within the genre, but historically it hasn’t been the case.  With these sorts of films comes a higher level of investment in character, as the film doesn’t have as many guns blazing to distract audiences. For this film we have Tom Hardy’s lead as a quiet bartender who has a simple monotonous routine, and Gandolfini the manager of the bar who is frustrated by his position after former local fame.

Speaking on the topic of less being more, The Drop rides this waves throughout the whole narrative, relying on subtle metaphoric character interactions and lines hidden in a story that has little substance or weight. The film attempts to take a look at what its likely for the small timers or the ones beaten down by the bigger mob bosses, which is a good enough fairly unexplored premises. But the film lacked from very little in the ways of actual entertainment value to keep the audience on board for the poignant story to develop. There is some light and enjoyment to be derived from this gloomy thriller, such as a general likeability factor of Hardy’s simple bar tender character a few violent thrills as the plot develops, and the main selling point Hardy’s character discovery of abandoned pub and their friendship. But for many these comfort pleasures of the film will not be able to endure the rather dry and limited script which may be effective to creating believable characters, but not in dialogue that will hook audiences or provided stirring lines.

Other aspect such as directing did have their sparks of originality but few and far between. There is particular good handling of the final scene within the bar with unexpected camera work (due to dress up until this point) of a camera flip to follow the money exchanging hands, and also the overall building of suspense within the bar in the final act does bring about a level of tense atmosphere. But perhaps due to lack of experience that Roskam has, there is very little else brought to the directorial scene. There are attempts in directing, as with he story itself, to be more metaphorical and artistic than it really is, for example an opening cliché shot showing the bar through a reflection in a puddle. It could be argued that its plain presentation is purposeful in order to suit the mood of the film and clearly present the character driven drama of the film, and with little action, these no opportunity for flexing of directing muscles. But close up shots and over the shoulder shots wear thin when the dialogue on-screen isn’t enough alone to hook audience. Overall whatever the reason, Roskam work wasn’t anything memorable.

Now for the aspects of the film that were note worthy, that being the work of Hardy, Gandolfini and Rapace. Hardy’s character in this is far more subtle than many of his other roles, but that doesn’t make it any less hooking. The likeability factor of Hardy’s simple humble bar tender is the best part of this film, the characters written persona while being quiet and recluse is a needed presence as an average joy good guy within the story. Hardy delivers him in a plain and threatened nervous manner in the film, which makes you route for him all the more in the film, it ticks the box of what all protagonist should do, you care about what happens to him. Gandolfini work is brilliantly type cast for the character type, and fits the uncontempt angry manager like a glove, with particular flexing of acting muscles towards the ending of the film via some more emotional scenes of the film. While both performances are entertaining enough, the same cannot be said for the source material, even though Hardy has little to say. The dialogue was attempting to be too high reaching or poignant that it really is, but the characters created by script was solid.

The Drop is an attempt at a crime thriller driven by small cast character drama, and it has some of the components to do so. It contains written characters that are entertaining enough with actors which handled them well, but due to the overall dialogue that isn’t stirring as well as an old story, the characters can’t keep the film afloat. Ultimately the short run time of an hour and three-quarters drags, in a crime film, a genre that is definitive for its thrilling nature. While there is some enjoyment to be derived from the little story of Bob and his dog (he finds in a bin leading to a friendship with Noomi Rapace character) that make you invested in the character, it’s a recreation of a worn out ‘find my money’ story which is lacking in the necessary drive as far as twists and turns (which aren’t predictable) married with a script of intelligence that can left the film out of the gritty cold world it is set in.

Verdict : You might like a story of a bar tender and his dog, trying to make the best of it, as that undoubtedly tugs on heart-strings. Unfortunately it isn’t a unique, or even adequate, take on crime drama to do Gandolfini or Hardy work justice, there just needed to be more substance as far as story and script.

Verdict : 2/5

Quote : “But it didn’t, it was just a stool.”

Review: Predestination

Released: 20^th February (cinema, Blu-Ray and on demand)

Certificate: 15

Directors: Michael and Peter Spierig

Screenwriters: Michael and Peter Spierig

Cast: Ethan Hawke, Sarah Snook, Noah Taylor

We’ve all heard the one about the guy walking into the bar. However, when that bar is tended by a time-travelling secret agent working incognito to foil a notorious bomber, and the guy walking in has an incredible and tragic story to tell, things can begin to take off in some very unexpected directions. The agent in question, played by Ethan Hawke, is undercover in 1970s New York when into his bar walks John (Sarah Snook), a writer with a chequered past and a thirst for revenge. The two strike up a conversation, but find that their fates are more intertwined than they might have first expected.

Opting to pick a tricky time-twisting premise (based on Robert A Heinlein’s story ‘All You Zombies’) and run with it, Predestination is high-concept science fiction at its hyperbolic best. The cast absolutely sell the somewhat absurd story, which is the main reason that the film works as well as it does. Hawke’s mysterious time traveller is clearly conflicted, disobeying his own rules regarding time jump frequency, and while he seems honest enough Hawke puts something behind his eyes which never quite allows the audience to trust his motives. But Predestination is really brought to life by Sarah Snook’s portrayal of the hangdog John, before and after his transition to male. The bitter and purposeless John of 1978 is a sharp contrast to his younger self, who is capable, cocky and ambitious, and whose life is ruined by a romantic indiscretion.

Transgender and intersex characters (both identities are relevant to John) are still a rarity in cinema, and so each occurrence bears an unfair burden of representation. In this respect, Predestination is a partial success. The depiction of the physical aspect of John’s transition, while frank, does not feel prurient or exploitative, and his gender identity is not the most interesting thing about his character. However, there is an amount of biological determinism at play which, while completely at home in a story which is all about determinism, perhaps should have been examined and deconstructed further.

The light touch with which the film treats its heftier themes saves it from getting bogged down in its own mythology, however at times this focus on pace over philosophising can render things a little shallow. This is reflected in the direction and cinematography, which provides some arresting images but is ultimately more functional than truly artistic. Similarly, although the tricky time travel narrative is well synthesized, the visual execution is sometimes a little clumsy, flagging up the twists so that their arrival has perhaps less impact than might have been possible otherwise.

Choosing to eschew philosophical navel-gazing in favour of a compact and fast-paced plot, Predestination occasionally feels a little slight. However, the unique premise and fantastic performances by the principal cast bring a real charm to this entertaining piece which rewards repeat viewing.

Verdict: 4/5

Image credit: facebook.com/PredestinationMovie

Kingsman : The Secret Service Review

Tinker Tailor Soldier Boy

Released : January 29th 2015

Certificate : 15

Director : Matthew Vaughn

Cast : Colin Firth, Samuel L. Jackson, Taron Egerton, Michael Caine, Mark Strong, Sophie Cookson, Sofia Boutella

Plot : Eggsy (Egerton)is a young lad from the streets of London who is slightly off the rails, but is offered a chance of a better life when he meets Harry Hart (Firth), a secret agent, who offers him a chance to become a Kingsman spy. As Eggsy trains the Kingsman meet their greatest challenge yet, as billionaire Richard Valentine (Jackson) plots a plan to cause mass genocide.

Matthew Vaughn sets about he second mockery of a large motion picture genre, setting his sightson the spy genre. A genre which is just as easily laughable as the superhero genre, especially in films. But due to Kick-Ass huge susses, which can be demonstrated by its spawn of a disappointing sequel, there was always anticipation for another comedy from Vaughn, and to make it another spoof would be even better. And he as returned, after returning to the X-men saga for a very seriousperformance, producing in one of the best outings from the saga. With Kingsman, we can be pleased that a Brit is the one to dissect our most famous movie category. Ironically enough we see Colin Firth as one of the main stars of the show, after not too recently being in one of the great spy classics of modern cinema, Tinker Tailor Solider Spy. so we have British powerhouse talent to mock our greatest work.

For this spoof like Kickass we take someone who is the least likely to fit the mould of the hero character, Eggsy (Eggerton) is a very stereotypical South London teenager, all fitted with the snap back and tracksuit bottoms. His character is a prime example of waisted talent and his heading for a life of crime. But due to connections his dead father made, he meets Harry Hart (Firth), a top secret Kingsman agent who can offer him the path of greatness, to become a spy. Meanwhile at the same time the evil villain Richmond Valentine (Jackson) hatches a plan for world domination, or rather destruction, with the help of a very cool sidekick, literally. The stage is there by set for a epic spy show down, fitted with explosions, sexy women and lots of guns, perfect blockbuster.

Like Kick-Ass it contained much of the films comedy with in the style of the mocked genre, and Kingsman certainly outdid Kickass for style. But to accompany that the way he film mocked the genre was much more obvious than Kick-Ass. Instead of an overload of jokes featured within the script, it choose to feature much more the conventions of the genre, or rather distortions of the conventions. This was visible not only in its style and over all feel but in its characters and sequences also. This gave the film a much more deliberate attempt of sarcasm towards the genre, whereas Kickass just took a typical superhero film and inserted humour and ridicule. This meant that the laughs fr this comedy came less from the witty one liners, but instead leaving the films humours manipulations of the genre to be enough. Firstly this was generated by the unconventional characters interaction with the conventional characters of the story, most obviously done via Eggsy and Harry Hart. This was rather an familiar duo in the history of comedy, the poorer ‘unproper’ character being forced to work with the moral, high society model citizen. This in many cases as proved to be a wining formula, but due to the lack of devotion to the humour of the script, the jokes generated by this partnership became recycled as the film went on. Not due to the chemistry of the actors, but to do with the lines themselves. The clash of the two worlds did make for entertaining scenario sequence and amusing language barriers, but this did become predictably repetitive. The jokes could almost be spotted being set up.

As for Vaughn work on directing, his reconstruction of the spy genre was entertaining to watch come together, and didn’t lack in overdoes of style. Featuring big elaborate shots of the gadget rooms, long off shots of a villains menacing and illogical hide out but the essential part of the spy thriller; the action sequences were poorly orchestrated. Perhaps in an attempt to emphasis the drama of the fight scenes or in attempt to make the acrobatics of it look more entertaining. But the end results was very shaking and dramatic camera movements, which made the viewing slightly obscured and less entertaining than the kick ass action of Kick-Ass. Vaughn hasn’t before done this, despite being the head of many big scale action movies, and Kingsman was not exception to that, having plenty of big bloody brutal scenes, but it would have been nice to have them delivered a bit plainly. Vaughn work on directing was slightly over the top, in some scenes spoiling the magic. But in other cases Vaughn was able to contract entertaining large scale meltdown, scenes of many powerful people heads exploding in unison was a particular high point, but perhaps choreography of the hand to hand scene weren’t up to his normally controlling standard.

Where Vaughn did not faultier is in the creation of his characters, particularly Eggsy, Harry Hart and Valentine. Many of the characters where very straight in there roles in the film, but still entertaining enough to watch. Eggsy and Harry together as characters is an brilliant blend, but the chemistry between the tow actors wasn’t anything memorable, the two actors gave entertaining comic roles individually, but when they shared scenes it didn’t compliment each other performances particularly. But when a big loud blocker buster is being made, not many people are going to miss a great deal of acting, especially in a such as this, which doesn’t take much very seriously. The most intelligent and enjoyable character to watch in the film was by far Valentine, played by the commonly appearing powerhouse which is Samuel L Jackson. The character of Richard Valentine is one of the best qualities of the film, a modern creation who fits with the old evil villain codes, seeing him all dressed in the outlandish modern cloth full with snap back was a sight to behold. And Jacksons portrayal of the stylish villain made for a loveable pieces of comic relief, within a cleverly created character.

Kingsman is one of the boldest blockbusters so far for 2015, and a cut above you average action extravaganza, as it contains a intelligence enough to dissect the spy genre with lashings of comedy, due to writer/director Matthew Vaughn. Its not short on comedy, and its not short of violence, but maybe Vaughn efforts to parody another genre have been too formulaic in and attempt to do the same for the spy genre has he did with the superhero genre. Unable to recreate the same level of stylish cult entertainment, proving for an unique big screen action film, but not quite another memorable parody. Does what it says on the packet, but doesn’t surprise and isn’t what we could get if Vaughn was on top form. But with a strong cast, big scale, and a entraining premiss its not a disaster by any means.

Verdict : Stylish, witty and comical violent, Kingsman is a treat of a blockbuster, another entertaining outing from Vaughn. But in all its class, the laughs are slightly formulaic, but the intelligent premiss itself balances out for a a film that is notable. Cool as Bond, but isn’t quite Kick-Ass.

Verdict : 3/5

Quote : “I’m a Catholic whore who needs to visit my black, Jewish boyfriend who works in an abortion clinic. Hail Satan.”

The Hobbit : The Battle Of The Five Armies Review

One Last Time

Released : December 12th 2014

Certificate : 12A

Director : Peter Jackson

Cast : Martin Freeman, Orlando Bloom, Hugo Weaving, Ian McKellen, Cate Blanchett, Richard Armitage, Luke Evans, Benedict Cumberbatch

Plot : Bilbo Baggins (Freeman) and the band of dwafs led by Thorin Oakenshield (Armitage) have driven Smaug (Cumberbacth) from the Lonely Mountain, now the dragon seeks to destroy Laketown All of Middle-earth’s eyes fall on the mountain, as armies from all across the land come to fight for the promise of the enddless gold of Erebor.

This was a emotional film for both cast, fan, and movie goer alike, as the Middle-earth saga comes to a close, and Jackson wasn’t going to leave quietly. Due to the pleasing high quality of The Hobbit series so far, with ‘The Desolation’ proving to be a better instalment that the ‘Unexpected Journey’, many were confident that Jackson would be able to complete his legacy with great strength. The Hobbit series as been by far the best prequel series to date, not that there are many to choose from, but its certainly hasn’t followed the same story as the Star Wars franchise. There will always be a special place in our hearts for Frodo and Sam’s journey across Middle-earth, but we have been overjoyed to be taken on another adventure across J. R. R. Tolkien mythical land with Peter leading the way.

In true blockbuster movie series style, the finale instalment has to be big, it has to be dramatic, and it has to be violent. Well the story certain had the stage set beautifully for such a climax. Smaug (the Cumber) is loose in Middle-earth once more, and only Bard (Evans) stand between him and Laketown. As Bilbo and the dwarfs are helpless to stop Smaug descend upon the innocent villagers, Thorin starts his search for the Arkenstone, to crown himself King under the Mountain. Meanwhile as armies from all corners of Middle-earth approach the Mountain, Gandalf (the still grey for the moment) has discovered a terrible evil, a Necromancer (the Batch).

Differently to the climax of The Lord of the Rings, the journey of The Hobbit is finished as the film starts, Bilbo and the band of dwarfs have no where left to go, all that’s left to do is stand there ground, in true 300 style, with just one hobbit and thirteen dwarfs standing between all of Middle-earth and Erebor. Bur following in the same style of The Lord of the Rings, the final chapter is the most blood thirsty, with 45 minutes of this film solidly being taken up by a battle sequences, many fans going into the theatre knowing this, if they had there homework. Certainly for the younger followers of the franchise this was no issue, but did this mean that the character drama and emotional value of the film would suffer. Well it was clear from the outset that Jackson wanted to make this last instalment to be as dramatically impressive as possible, as nothing would be worse than a wimpish finale bow. Well no one can say that this film ends the saga quietly, as seeing Smaug descend on Laketown, and the battle for the Mountain between the five armies commence, did make for blistering entertainment. If anyone thought that The Hobbit sequel had been missing the large scale battles that The Lord of the Rings was so famous for will be very happy, a truly thrilling motion picture event. Unfortunately the battle for the five armies did lack in the emotion that made the return of the king such a brilliant ending to that trilogy. The chemistry between Frodo and Sam, and Pippin singing as the rider go to there immanent death, to list a few of the moving scenes from the return of the king that made it such a rich film to watch. This presence of story was not as poignant.

Despite this, to conduct not just such a large scale dramatic film, but to guide a motion picture legacy to a close is not a easy task by any stretch of the imagination, and Peter Jackson performed beautifully. If nothing else this film can be remember as Jacksons finale bow to the saga, and such an achievement will secure him in the history for cinema forever (regardless of the fact that Middle-earth saga has picked up a total of seventeen Oscars and been nominated for a further thirteen other Academy Awards). And Jackson did not falter in this chapter at all, the battle sequences where beautifully orchestrated, and yet again displayed the characters and world of Middle-earth flawlessly.

Most of the character development of this film focused on Thorin Oakenshield and Bilbo Baggins, giving less attention to the other characters disappointingly, making for some of the non-battle sides of the film to be slightly rushed. But Freeman and Armitage performed very well with the large amount of screen time that they had. Bilbos character maturing with the journey much the same as Frodo was given great life from Freeman’s performance, changing from the innocent quiet hobbit from the shire into the slightly corrupt barer of the ring has been a joy to behold for a second time due to Freeman’s performance. Thorin being the other main character the story focuses on as a key point develops as the power and pressure of being (self appointed) King under the Mountain. Armitage performance has proved to be entertainingly charismatic making him stand tall next to original cast members such as McKellen and Bloom. The amoutn of time devoted to these characters meant that we missed out on many other of the characters stories, something which was not a issue in The Return of the King.

So the emotional drama from the characters which made The Return of the King so impressive as a fantasy flick, does not have quiet the same presence in this finale. But its almost impossible to compete with a film which won a record breaking eleven Oscars. So maybe comparing the two trilogy’s, the original wins, as originals almost always do. But the discarding the originals existence, The Hobbit Trilogy is an masterful creation, and this ending chapter does the series justice.  The Hobbit Trilogy has been good enough to ignore the fact that three films have been squeezed out of just one book. And The Battle of the Five Armies is as thrilling an poetic ending to a saga as anyone could hope for.

Verdict : A sensationally spectacular show down, which scale enough for an entire trilogy. Not the best instalment from the saga, but The Hobbit story has been another beautiful journey through middle-earth. The Middle-earth saga shall be missed.

Verdict : 4/5

Quote : “Farewell, Master Burglar. Go back to your books, your fireplace. Plant your trees, watch them grow. If more of us valued home above gold, it would be a merrier world.”

Mini Review: The Boxtrolls (2014)

Released: Available on DVD, Blu-Ray and on demand 26^th January 2015

Certificate: PG

Directors: Graham Annable, Anthony Stacchi

Screenwriters: Irena Brignull, Adam Pava

Cast: Ben Kingsley, Jared Harris, Dee Bradley Parker, Isaac Hempstead Wright, Ellie Fanning

In a pseudo-Victorian city perched precariously on a mountaintop, the residents are plagued by night-time invasions of marauding trolls out to steal their possessions and their children- or are they? The latest stop-motion animation from Laika studios (Coraline, Paranorman) rattles along gleefully, bringing a cast of plucky youngsters, dastardly villains, and preoccupied, cheese-obsessed aristocrats along for the ride. The worlds above and below ground are well thought out and eye-poppingly detailed, and the gags are good. Any kids with a predilection for the macabre will be thrilled with the grottier-than-average rendering of the world of the titular beasties. Unfortunately, the film’s message of tolerance is marred somewhat by a failure to challenge the stereotypical association of male-to-female cross-dressing with deception and villainy. This is a great disappointment in a picture which is otherwise warm-hearted, funny and visually arresting.

Verdict: 3/5

Quote: “The unspeakable has happened. We must speak of it at once!”

Image credit: theboxtrolls.co.uk/gallery

Review: The Hunger Games: Mockingjay Part 1

Released: 20^th November

Certificate: 12A

Director: Francis Lawrence

Screenwriters: Peter Craig, Danny Strong, Suzanne Collins

Cast: Jennifer Lawrence, Josh Hutcherson, Woody Harrelson, Philip Seymour Hoffman, Julianne Moore, Natalie Dormer, Elizabeth Banks

Another year passes, and the most successful series of young adult novel adaptations since Twilight returns for its third cinematic instalment. Encompassing the first half of the book of the same name, Mockingjay part 1 picks up where Catching Fire left off: at the inception of a revolution led by District 13 against the despotic Capitol.

Ostensibly, leaving the tried-and-tested formula of the titular arena behind would seem to be a risk; however the transition from gladiatorial combat to political intrigue is executed seamlessly. The filmmakers continue to flesh out the world of Panem beyond the eponymous games, with the districts play a larger part than ever before. For the first time we meet Capitol exiles, and see their contrasting reactions to the District 13 way of life- from Effie Trinket’s arc from self-pity to self-resolution (Elizabeth Banks proving that it is not just the wigs that make the woman), to the hard-edged Cressida (Natalie Dormer) and her film crew. The expanding cast and action setpieces at times mean perhaps less time is spent on character development than would be ideal. Lawrence brings such subtlety to Katniss, and it would have been interesting to have given her more time to exhibit Katniss’ vulnerability after the trauma of the games, which is explored in more depth in the novel from which the film is adapted.

This is not to say that characterisation falls completely by the wayside. Effie, District 4 tribute Finnick (Sam Clafrin) and District 13 leader Alma Coin (Julianne Moore) all have interesting arcs, and Katniss herself goes on an impressive journey. Katniss is a mesmerising protagonist, her anti-heroism manifesting not as showy callousness (as with Marvel’s Tony Stark and his ilk), but as a stony pragmatism: she knows what is important to her and will move to protect it, even if this directly contravenes what appears to be the ‘greater good.’ And, while this worked in the arena, Katniss is discovering that the fact of her being instrumental to a bigger movement will require her to change. However, she resists being commodified even as she realises that it is probably necessary.

This problem of trying to create a hero out of someone who is fundamentally un-heroic is a well-worn path that nevertheless is made fresh by Lawrence and co., and feeds nicely into the film’s overarching discussion of how media can be as powerful a weapon in conflict as armaments. The irony of needing Capitol-trained personalities (Seymour Hoffman’s excellent Heavensbee and Dormer’s Cressida) to do the propaganda work of the revolution is cunningly delivered. Cressida’s eyes, while free of heavy Capitol makeup, gleam with triumph as she spots a Katniss moment of genuine identifiability which can be exploited for the cause.

Despite being a ‘part 1’ adaptation, the film feels complete within itself and stops at a logical place within the narrative while still leaving a cliffhanger ending which cues up 2015’s part 2. While it doesn’t quite equal Catching Fire for pace and verve, it encompasses the increasing thematic complexities of the novel while delivering something truly cinematic and action-packed.

Verdict: 4/5

Image credit: reelcinemas.co.uk

Review: Paddington

Released: 28^th November 2014

Certificate: PG

Director: Paul King

Screenwriter: Paul King

Cast: Ben Whishaw, Hugh Bonneville, Sally Hawkins, Julie Walters, Madeleine Harris, Samuel Joslin

The eponymous childrens’ book and TV character is given a 21^st century makeover in this charming family film. Hailing from Darkest Peru, a young bear has to leave his idyllic home life when an earthquake destroys his dwelling and claims the life of his uncle. He hitches a ride to London, where an explorer once promised his family that they’d receive a warm welcome. However, he quickly discovers that London in 2014 doesn’t stop to tip its hat jovially and comment on the weather with strange visitors. Enter the Browns, a middle class London family who get more than they bargain for when they agree to take in the young bear ‘just for one night.’

A rarity in modern remakes of much loved classics, Paddington hits all the right notes. This is mainly due to a strong cast: Bonneville, Hawkins and Walters are all British stalwarts but the young actors do extremely well considering most of their scenes probably involved acting to a tennis ball on a stick. Ben Whishaw brings a wonderful cadence to the voice of Paddington; he is innocent without being childish, straightforward and yet strangely knowing, and Nicole Kidman is clearly enjoying hamming it up as the diabolical taxidermist villain.

The story progresses nicely, and touches on some very salient themes, such as modern middle-class fear of the unfamiliar and of those seeking a helping hand. There is an argument to be had about whether the film over emphasises Britain’s historical hospitability: while Britain’s mass acceptance of German WWII refugees is referenced, there is no mention of the chilly reception experienced by West Indian workers encouraged to immigrate to rebuild the country in the aftermath of that same conflict. However, the musical interludes by calypso outfit D Lime are at least a nod to a cultural heritage that stretches beyond Europe.

Despite its dramatic underpinnings, Paddington is at its heart a comedy, and a smart one at that, featuring a raft of well-choreographed physical humour (the audience I saw it with were in gales of laughter) and plenty of other jokes if slapstick isn’t your jar of marmalade. The rich and detailed sets provide an almost Aardman level of in-frame jokes and features which will reward repeat viewing.

Verdict: 4/5

Image credit: http://www.facebook.com/PaddingtonBear

Review: Interstellar

Released: 7^th November

Certificate: 12A

Director: Christopher Nolan

Screenwriters: Jonathan Nolan, Christopher Nolan

Cast: Matthew McConaughey, Mackenzie Foy, Anne Hathaway, David Gyasi, Wes Bentley, Michael Caine

Every now and again a film comes appears with such startling ambition that it is impossible not to take notice. A high-concept space opera made for the masses, Interstellar pulls off that most Nolanesque of tricks: achieving spectacle, intimacy and mind-bending mystery without being either condescending or deliberately obtuse. Set in a near-future America reeling from a famine-driven partial societal collapse, the film places the relationship between engineer-turned-farmer Cooper (Matthew McConaughey) and his daughter Murphy (Mackenzie Foy), firmly in the foreground. When Cooper is recruited for an intergalactic mission to seek out other inhabitable planets, he must face the possibility he will not return.

Cooper and Murphy’s relationship anchors the emotional stakes of Cooper’s mission to find a better home for humanity, without feeling overtly manipulative. This is mostly due to Foy’s astonishing performance- Murphy is capable, inquisitive and steely, so her palpable vulnerability when her father’s departure becomes inevitable is utterly devastating. Her refusal to capitulate and talk to him even as he drives away to a potentially terminal journey adds a hard edge to the proceedings, and a tinge of regret accompanies Coop’s every action afterwards, beautifully realised by McConaughey. Anne Hathaway delivers a layered and engaging performance as spacefaring scientist Dr Brand, who has an interesting and sometimes fraught dynamic with Cooper which stays mercifully well away from romance.

In the film’s second act the action really kicks off, with well thought out special effects illustrating hitherto unseen space and timescapes in a way that feels disconcertingly real: you could almost believe that Nolan showed his intergalactic holiday snaps to the VFX team for inspiration (although in truth the film’s scientific advisor, Kip Thorne, probably deserves the credit). This verisimilitude packs a punch: once you believe the characters are really there, the true horror of the void is front and centre. At one point Cooper says “we are not prepared for this,” and as an audience member you can’t help but feel the same; it is overwhelming and exhilarating in equal measures, and the innate hostility of exploration which has been present throughout human history finds a space-age echo here.

There are a few bum notes, however. The script at times veers towards the highfalutin, particularly when it comes to meditations on love. As is so often the case, showing is better than telling, and although the film does plenty of showing, the occasional clunky bit of dialogue on love-as-a-universal-force slips in. The robot assistants, although smartly written, struggle to look congruent despite being well rendered. However, in a project of this scope and audacity it is unsurprising that some elements don’t quite work, but those that do more than make up for it. Overall Interstellar is an occasionally overwhelming but utterly engaging experience, demonstrating the power of cinema to provoke horror, exhilaration and awe.

Verdict: 5/5

Image source: interstellar.hamiltonwatch.com

Review: Mr Turner

Released: 31^st October

Certificate: 12A

Director: Mike Leigh

Screenwriter: Mike Leigh and cast

Cast: Timothy Spall, Dorothy Atkinson, Paul Jesson, Marion Bailey

Mike Leigh’s latest film follows the later life of 19^th century painter JMW Turner (Timothy Spall), lauded as one of Britain’s greatest artists. Fittingly, it is no understatement to describe the film as a visual feast. This is not only in terms the works of art on show from Turner and his contemporaries, but also the sumptuous costumes and magnificent sets and locations. However to say the film is purely an aesthetic experience would be damning with faint praise; it is a lot more besides. Mr Turner wonderfully showcases Mike Leigh’s skill as a constructor of naturalistic and engaging social drama. The frequent tableau scenes between Turner and his many acquaintances are a delight to watch, whether they are as comedic as teatime in the parlour of the fatuous Ruskins or as fraught as the clash of artistic egos at the Royal Academy exhibition. At the centre of the film lies Timothy Spall’s performance, which is accomplished and compelling. He is able to encapsulate and indeed evoke the gamut of emotions from a laugh to a painful tug on the heartstrings merely by varying the cadence of his many ‘harrumphs’. His Turner is mercurial, mysterious, and utterly believable. The rest of the cast are also fantastic, particularly Dorothy Atkinson as Hannah Danby, Turner’s underappreciated housekeeper and occasional lover, and Paul Jesson as his put upon but uncomplaining father.

Leigh’s direction manages to be both cinematic and intimate depending on the demands of the scene. During a discussion in which the owner of a guest house reveals his regret over having been a builder of slave ships as a younger man the camera cleaves close to the actors’ faces, while elsewhere the camera is positioned behind Turner, as if all the world is merely a canvas he- and the audience- are looking out upon. Unfortunately, the spellbinding nature of the individual scenes is somewhat undermined by a lack of a clear overarching narrative, particularly in the third act. Leigh’s films are often loosely structured, and one can see why he wanted to avoid what can be the all too story driven nature of the traditional biopic, however the piece would have benefitted from a little more pace. Furthermore, although Leigh appears to be hinting at a connection between the complications and bereavements in Turner’s later life and the increasingly abstract nature of his paintings, this is not fully explored. Although we see a great number of Turner’s actions and emotions, his motivations remain frustratingly obscure.

Peppered with rich dialogue, wonderful settings and elevated by an extraordinary central performance, Mr Turner is a beautiful, albeit slow moving, film of wit, imagination and spirit.

Verdict: 4/5

Image credit: http://www.facebook.com/MrTurnerFilm