Siobhan on Film

Girl Model - Review featured on thisisfakeDIY

2012-02-24T15:05:00.004Z

The Vow - Review

2012-02-23T15:23:00.003Z

It’s difficult to criticise a film when its subject matter is so earnest, especially when we are informed that its events are inspired by a true story. However, despite the best efforts of both Channing Tatum and Rachel McAdams The Vow ultimately fails to seduce its targeted viewer.

Paige (McAdams) and Leo (Tatum) live an idealistic, creative life, both pursuing their respective artistic endeavours: she is a talented sculptor, he owns a recording studio. Travelling home together one night, the loved-up pair’s lives are interrupted by a car accident. Leo emerges from the crash unscathed; Paige however, upon waking from an enforced coma to cope with the brain trauma she has sustained, recalls nothing of the past four years of her life.

Not only is she unable to remember her husband, but she is unable to equate herself with the person she has become: rapidly reverting back to the wealthy, driven law student she remembers herself to be. Leo, of course, remains faithful to Paige, believing that she can fall in love with him once again.

The narrative itself is hardly important, its outcome immediately apparent to all those familiar with the genre. Instead, it is the success of the central casting that so often proves itself crucial to such a film: the viewer needs to both invest and immerse themselves in the central romantic conceit, a feat impossible without the presence of tangible chemistry between the protagonists. As such, The Vow immediately fails; McAdams is, of course, as sunny and charming as ever, lighting up the screen. Tatum, unfortunately, is simply not romantic leading man material. Fine in physical roles, the not-exactly-demanding role of Leo causes him some problems – largely in his inability to truly emote.

The characterisation is largely simplistic: the lack of any real development makes it difficult to truly invest in their plight. The film itself is admirable at least: for the lack of any obvious manipulation, it clearly and quite sincerely believes in the pure message of love it attempts to deliver; despite this, The Vow fails to make an impression. Instantly forgettable, not even the delights of the talented McAdams can save this one.

2/5

The Muppets - Review

2012-02-22T10:23:00.000Z

Co-written by its star Jason Segal, The Muppets is notably a children’s film that essentially serves as an opportunity for a wonderfully indulgent nostalgic experience for an adult audience. The latest Muppets effort since the less than well-received Muppets From Space (1999) will, for much of its younger audience, be their first introduction to the irreverent grouping. Segal’s script cleverly balances the typical bizarre slapstick moments guaranteed to appeal to the younger audience members with wonderfully-realised moments of reflexivity.

Walter (performed by Peter Linz), a young Muppet, lives with his brother Gary (Jason Segal). Despite their loving relationship Walter feels displaced: following a night when he has once again found himself the subject of ridicule, Walter and Gary watch The Muppet Show. Walter is inspired, seeing hope in the gang’s gift of laughter.

Several years later, Walter is presented with the opportunity of visiting the theatre of his beloved heroes. Invited to join Gary and his girlfriend of ten years, Mary (a delightful Amy Adams) on their trip to celebrate their anniversary. Arriving at the now defunct theatre, Walter overhears a scheme to purchase the Muppet Theatre in order to gain access to hidden oil underneath. Walter, tracking down the now reclusive Kermit, convinces Kermit to round up the old gang, hoping to raise the necessary money to save their beloved theatre by putting on a show

Admittedly the plot itself is fairly limited and hardly original, but, as ever, this hardly matters in the case of the Muppets. The film doesn’t require a convoluted, complex narrative: instead, it is the wonderful moments of interaction between the characters that provide the perfectly pitched moments of whimsical comedy. Much of the film’s joy stems from simply seeing the familiar characters back onscreen. Its pure yet never naïve style ensures that even the most cynical of viewers will be unable to resistant the charms of the loveable, hilarious gang.

Segal, as evidenced by his script, is a clear fan of the original show: his script demonstrates a clear appreciate for its original source whilst, importantly, not simply revering the characters. Both Segal and Adams are wonderful, truly immersing themselves: lesser actors, or indeed, the overly serious may have found it difficult to interact with the gang. Instead the efforts of Segal and Adams ensure that the viewer, really believes in the plight of the loveable grouping: truly, a welcome return.

4/5

Extremely Loud and Incredibly Close - Review featured on thisisfakeDIY

2012-02-21T17:52:00.001Z

The Descendants - Review featured in The Epigram

2012-02-07T18:46:00.005Z

Alexander Payne has made a career directing and writing films centred on dysfunctional men: men who are unable to take responsibility for themselves or their actions, men who are ultimately directionless.

Hawaii inhabitant Matt King (George Clooney) is one such man. A largely absent father, he is forced to answer to his responsibilities, whilst questioning his failings, when his wife is plunged into a coma after a speedboat accident. Through his wife’s absence, Matt realises the numerous troubles his two daughters are experiencing. Spending time with his youngest daughter, he realises he knows very little about her: unaware of her various food preferences, nor the manner in which she treats her classmates at school.

His oldest daughter Alex (a wonderfully acerbic Shailene Woodley) an apparently troubled, substance-abusing 17-year old, is sent to boarding school when her parents can’t deal with her. Brought home by Matt when he realises the extent of his wife’s condition, Alex is baffled by her father’s oblivious nature, angrily informing him of her mother’s infidelity.

Simultaneously, he is compelled through his status as trustee to a family foundation to decide what should be done with an expanse of land beloved by the indigenous people and equally desired by real estate developers.

Matt, despite his obvious difficulties, is not an easy character to empathise with: his all-too apparent wealth generates little in the way of real hardship. If it were not for Clooney’s performance, subtly imbued with moments of real pathos, the film would have surely felt ultimately empty. Payne sidesteps this issue of wealth and empathy with a well-placed opening voice-over from Clooney, summarised as: this may look like paradise, but every individual experiences the same loss and the same moments of suffering.

Beautifully shot, Payne’s direction is at all times carefully measured and often sharply amusing. Much of the humour stems from the often absurd nature of Matt’s predicament and his interactions with his daughters, both of whom are, typically, often wise beyond their years.

Despite this Payne’s film is guilty of moments of overindulgence on occasions, and it is these moments which ultimately let the film down. Alex is supposedly a wayward daughter, yet there is little real evidence of this. Matt is rather too genteel to be believable when he discovers his wife’s infidelity. Payne’s film is, essentially, for all its illusions, rather empty, with little emotional gravitas to truly root its narrative.

3/5

Martha Marcy May Marlene - Review

2012-02-06T21:11:00.000Z

Sean Durkin’s feature length directorial debut is truly an astounding work of haunting beauty and standout performances. Based on a short film the director earlier created, Martha Marcy May Marlene is a wholly impressive work: visceral and terrifying, Durkin’s film at times strays into the horror genre, so unbearable are the events of the narrative.

Martha (an assured Elizabeth Olsen) has not made contact with her sister Lucy (Sarah Paulson) for two years: this absence ends when a hysterical Martha calls. Lucy takes Martha back home with her, inviting her to stay with her and her newly-wedded husband in their large, spacious, overtly luxurious home. Martha explains her absence through vaguely referring to a boyfriend she lived with in the Catskills. Lucy initially has little reason to doubt Martha’s version of events, until Martha’s increasingly odd and eventually frenzied behaviour is made all-too-apparent. Martha seems to hold little inhibitions, struggling to understand Lucy’s remonstrations after she opts to swim publicly nude.

As flashbacks interspersed throughout the narrative reveal, Martha has not simply escaped from a broken relationship, but instead a sinister ‘community’ preying on the young and vulnerable. This community, led by Patrick (a terrifying John Hawkes), rename each of their new members, clearly as a means of removing both their identity and displacing their past: Martha is thus renamed Marcy May. As Marcy May, Martha is subjected to truly horrific actions: once she has reasserted herself as Martha again, living with her sister, the memories of the actions plague her, lying latent in her memory, they can be triggered at any moment.

Durkin’s film is a confident, flawlessly executed work, with an utterly absorbing narrative. Martha asks Lucy if she ever struggles in differentiating reality from imagined memory, clearly indicating to the viewer Martha’s unreliability as well as her increasing paranoia. Elizabeth Olsen has been shrewd in her choice of role; Martha could not be further away from the teen-friendly fare peddled by her older well-known siblings. In portraying Martha, Elizabeth Olsen has not only indicated her intelligence in choosing her material, but demonstrates a wonderfully mature performance in a complex role. John Hawkes is once again on fine form, his character Patrick often works as a crueller, more depraved version of his Teardrop in Winter’s Bone: but whilst we can never be sure of Teardrop’s character, Hawkes ensures that Patrick’s manipulative, twisted quality is clear to see.

The film is not without its flaws, largely in the characterisation of Lucy and her husband: their lack of real understanding seems almost callous at times, often unbelievably so. Despite acknowledging Martha’s disturbed nature, they fail to truly engage. Despite this, Durkin’s film is hugely impressive: a truly mesmerising debut.

4/5

Like Crazy - Review

2012-01-30T15:42:00.000Z

Blue Valentine was, rightly, hugely acclaimed upon its release, seemingly heralding the way for a more downbeat approach to love and its various complications. Certainly Like Crazy, directed by newcomer Drake Doremore, maintains a similar tone to the aforementioned film, frequently affecting in its honest, non-saccharine approach to young love.

Anna (Felicity Jones), an international student completing a year at a University in L.A., arranges to meet with fellow student Jacob (Anton Yelchin). Leaving a note for him on his car, she invites him out for coffee. Usually the invitation would have resulted in an overly chirpy scene in which the couple would bond over their various quirks; instead Doreman’s film remains natural throughout: Anna and Jacob awkwardly make conversation as they slowly learn about one another.

The pair fall in love, adopting the utter dependency familiar to many: Anna, feeling she cannot return to England once her visa expires, instead chooses to stay in the US. This violation of her visa, initially a way to keep the pair together, instead pulls them apart –unable to return to L.A. after a brief visit home, Anna and Jacob initially attempt to stay together, but find the distance difficult to cope with. Despite their assertions that they shall move on, the pair continually stray back together, unable to forget each other, desperate to recapture the first flushes of heady love they experienced together.

The film, largely improvised, excels in its naturalistic approach and its beautifully intimate direction. Crucially, in a film in which the couple spend much of the narrative apart, we believe in their love for one another, desiring to see the pair together. Both Jones and Yelchin are almost achingly earnest, Jones especially is a joy to watch. The beauty of the film lies in its subtle character development: as the pair reunite, it is clear to the viewer that they have both changed, but the pair, so devoted to the idea of what they could have been, seem oblivious.

Like Crazy is a truly heartbreaking, honest look at love, made all the more affecting by its excellent cast: Doremore’s film is far more relevant and relatable than any standard rom-com.

4/5

Reflections on the trailer for Lock-Out

2012-01-29T15:42:00.000Z

Produced and co-written by Luc Besson, Lock-Out is the feature directorial debut from James Mather and Stephen St Leger. The high-concept thriller depicts a society in which high-security prisoners are kept on an orbiting prison in space. Guy Pearce stars as a wrongfully convicted government agent, promised his freedom if he can save Maggie Grace’s president’s daughter, who is trapped onboard.

High-concept aside, Lock-Out could have proven to be an enjoyable, escapist distraction, but the trailer indicates clichéd dialogue, the overt use of narration to describe events or background and stereotyped gender roles. I’m not holding out much hope for this one.

Haywire - Review

2012-01-27T12:31:00.000Z

Haywire, the latest directorial effort from Steven Soderbergh, is a muted, subdued affair, despite its purported action status. Containing a number of promising elements – a genuine female action star, a great supporting cast and great locations, Soderberg’s film fails to connect these individual elements, resulting in a lacklustre film.

MMA fighter Gina Carano, who Soderbergh reportedly cast after witnessing her participation in a televised fight, stars as Mallory, a privately-contracted killer for hire. As will be familiar for those accustomed to the action genre, Mallory, after being double-crossed, spends much of the film on the run, whilst desperately trying to both prove her innocence and find out who has set her up.

Whilst not an original concept, Haywire could have proved itself a worthy addition to the female-driven action film if only Carano’s skills were properly utilised: Carano is a fully-fledged action star in waiting, her acting may not be wonderful, but there can be no doubting her ability in performing tightly choreographed fight sequences.

The supporting cast, including Ewan McGregor and Michael Fassbender, are all fine, but there is only so much that can be done with such a loosely, poorly-developed script. Pacing is a major issue: an action film shouldn’t drag, but Haywire is entirely dull when Carano’s not busy beating up every man in sight. This pacing isn’t helped by the often-bizarre jazz-esque soundtrack, denying the film any opportunity at creating tension.

Carano, in the right vehicle, could show herself to be a truly successful action-star, and her casting will hopefully pave the way for more realistic female action-heroines: women who really look like they can hand-out a punch, instead of the usual hyper-sexualised fare.

2/5

Five Favourite Documentaries

2012-01-26T19:39:00.000Z

Senna (2010)

Entirely made from archive footage, Asif Kapadia’s documentary on the late Formula One driver Aryton Senna is a moving, engaging tribute. Its appeal, cemented through a truly dramatic narrative style, reaches far beyond fans of the sport: Senna is a film with universal appeal.

The Thin Blue Line (1988)

Errol Morris’ excellent documentary paved the way for the successful use of the reconstruction form. Morris’ film, depicting Randall Adams’ wrongful conviction and subsequent imprisonment for murder, prompted a successful review of Adams’ case, resulting in his release. An inspiring film.

King of Kong: A Fistful of Quarters (2007)

Taking place in the world of competitive arcade gaming, King of Kong was originally conceived as a documentary on the general world of this competitive pastime. After coming into contact with the record attempts of Steve Wiebe, the film rapidly emerged as a portrayal of the increasingly fraught rivalry between the aforementioned Wiebe and Billy Mitchell, whose record Wiebe threatens. Truly enthralling.

Grey Gardens (1975)

A wonderfully realised portrayal of a mother and daughter relationship, Grey Gardens depicts the two Edies as they continue their everyday lives. The filmmakers in adopting a Cinéma vérité style reveals both Edies personal thoughts and feelings, allowing their personality to come through: Grey Gardens is a raw, mesmeric film.

Paris is Burning (1990)

Depicting the ‘ball’ culture of New York City, Jennie Livingstone’s film, filmed during the mid to late 1980s, is a wonderfully engaging, often deeply tragic depiction of the African-American, Latino, gay and transgender communities who participate in this culture. Livingstone’s film includes moments of great pathos, along with heartfelt reflections upon issues of gender, race and sexuality. A genuinely affecting film.

Coriolanus Review - as featured on thisisfakeDIY

2012-01-26T18:12:00.005Z

Reflections on the trailer for Young Adult

2012-01-22T18:30:00.001Z

After the success enjoyed with Juno, Jason Reitman and Diablo Cody have teamed up once again for their latest effort, Young Adult.

Charlize Theron stars as Mavis, who despite her impending years still retains the behaviour and her status of the high school prom queen, treating others with evident disdain.

Existing in a swirl of hangovers, Mavis is informed via email that the boyfriend of her youth is soon to be a father: this news compels Mavis to return to her home town, in a desperate attempt to ‘rescue’ her ex from his fate.

Cody appears to have moved on from the snappy, stylised dialogue that plagued Juno for so many. Young Adult, refreshingly, seems to depict a female role far removed from the usual fare.

Shame - Review featured in The Epigram

2012-01-20T17:02:00.001Z

Following on from his feature debut, the latest film from former artist turned auteur Steve McQueen is a dark, brooding affair, depicting the seediest side of human nature and human desire.

Brandon (Michael Fassbender) has cultivated for himself distinctly different public and private personae. To those familiar with his public projection Brandon is charming, liked by his colleagues and a clear favourite of his sleazy boss, who despite his marital status encourages Brandon to join him traipsing through bars hoping to pick up woman.

Behind the closed doors of his sterile, clinical apartment, Brandon is nothing

more than a shell of a man. His apartment – spotless, virginal – is at odds with the increasingly depraved acts that take place within: Brandon is, as the film’s opening graphically depicts, a sex addict. His addiction is all consuming: for Brandon sex itself is no longer a pleasure, instead it has become a desperately needed relief in order for him to function daily.

Brandon, despite this all-consuming addiction, is able to exist in daily life: discreetly visiting the staff bathroom to relieve himself during the day and downloading graphic content upon his work’s computer, whilst employing the services of prostitutes at night. Brandon would continue to exist in this manner, trapped in a self-abusing, self-destructive pattern, were it not for the arrival of his flighty, damaged younger sister Sissy (Carey Mulligan), who provides the catalyst for the film’s subsequent narrative.

Sissy is as much of an addict as Brandon: for Brandon, sex provides gratification and fulfilment, for Sissy, the sexual liaisons she engages with (spending the night with Brandon’s aforementioned married boss) smack of her own personal desperation. Sissy, in her lonely, desperate state just wants to be needed and to be loved.

Brandon and Sissy’s relationship is cloying, hinting at an implicit claustrophobic incestuous nature: Sissy, despite the private acts the pair both actively engage in, appears to have little regard or recognition for personal space. Little is told about their background, but it is apparent that something traumatic has occurred for the pair to both behave in such a manner.

The cast are wonderful: both Mulligan and Fassbender’s performances are commendably nuanced, both literally and metaphorically exposing themselves completely. Despite Mulligan’s admirable efforts, there is little doubt that this is, at all times, solely Fassbender’s film.

McQueen’s trademark sustained shots enable Fassbender to demonstrate the multi-faceted approach he brings to Brandon’s character. Later in the film we witness first-hand, through a lingering close-up, Brandon’s ultimately empty, effectively soulless drive for desire.

Critics of the film may find it hard to empathise with a character so devoid of persona, but importantly, this is precisely what Brandon’s desires have resulted in – he has become little more than a man continually looking for sexual relief, and it is to Fassbender’s credit that he can create a mesmerising performance with such a character. A raw, often horrific depiction of human desperation, Shame commands the viewer’s attention – try as we might, it’s impossible to look away.

4/5

Reflections on the trailer for Coriolanus

2012-01-08T19:07:00.000Z

Having studied for an English degree, I’ve felt all ‘Shakespeared out’ for the last couple of years, tiring of the often pompous attitude supposed aficionados propagate. I tire too of the manner actors can adopt when performing great literary works: their all-too-apparent self-awareness often simply bores.

It is with relish then that I look forward to Ralph Fiennes’ directorial debut, an adaptation of Coriolanus. Importantly, for me, Fiennes chooses to

de-contextualise the play from its literary setting: shot in Serbia, the narrative takes place in a modern day warzone.

The film’s casting choices are both interesting and inspired: alongside the typical actors we would expect to associate with such a literary work, Fiennes’ film features performances from Gerard Butler, James Nesbitt, and most excitingly the immensely talented Jessica Chastain, excellent in both The Tree of Life and Take Shelter.

I can only hope that the trailer delivers upon its admirable promises: its setting and its choice of cast bring an immediacy to the proceedings, ensuring that Shakespeare is both relevant and accessible to those not formally connected with the literary elite.

The Artist - Review

2012-01-08T18:46:00.001Z

The Artist is that rare thing: an exuberantly joyous film, both entirely genuine and free from cynicism. Having received near-enough universal acclaim, The Artist is surely guaranteed to find itself deservedly considered for Oscar nomination.

The premise, a black and white silent film, beginning in 1927, set in LA, is laudably brave, both in concept and execution. Depicting the transition from silent films to ‘talkies’, director Michel Hazanavicius, previously known for a number of spoof French films, exhibits a wonderfully deft directorial style, combining moments of real comedy with delightfully realised moments of true pathos.

George Valentin (Jean Dujardin), an established Hollywood actor at the pinnacle of his career, finds his star begins to wane through his refusal to participate in the new ‘talkies’. As his career begins to pale, Peppy Miller (Bérénice Bejo), an aspiring actress who through a chance meeting with George finds the doors of Hollywood begin to open for her, finds the new style of films a gateway to her own success.

The Artist is a film of moments: memorable scenes that together create a simple but heart-felt narrative. As the film begins we witness Valentin along with his co-star and producer waiting behind the cinema screen, hoping and anticipating for the audience’s applause – the joyful look on Valentin’s face, despite the lack of verbal communication, tells us all we need to know.

In a film that relies so heavily upon performance, it would have been easy for lead actors Jean Dujardin and Bérénice Bejo to lean towards comedic pastiche, but both demonstrate performances of exquisite subtlety. The chemistry between the two is almost tangible at times, bringing real pleasure to the scenes they share together.

The Artist is certain to be remembered, refreshingly free from any form of grand political allusions, its characters and their story is as relevant now as it will be in future viewings. During a time in which many directors are heralding and often over-using technical effects, along with the advent of 3D, a film which relies simply upon a uniquely engaging plot is truly far more exciting than any 3D development could every truly be.

4/5

The Girl With the Dragon Tattoo - Review

2012-01-01T19:50:00.001Z

Many have questioned Fincher’s decision to direct his own adaptation of the hugely successful Stieg Larsson novel, especially considering how recently the fairly well-received Swedish films were released. Fincher’s film should not be considered a remake, but simply as another version, and should be reviewed in its own right.

Mikael Blomkvist (an excellent Daniel Craig), sued for libel after he failed to prove the claims he had made in his Millennium Magazine. Blomkvist’s journalistic career is, understandably, in tatters: with little else to occupy him, he finds himself intrigued when wealthy industrialist Henrik Vanger invites Blomkvist to discuss a personal issue.

Making the four hour journey to the remote island Vanger lives on, Vanger asks Blomkvist to use his journalistic skills in solving an issue that has plagued Vanger for the past forty-years: the disappearance and supposed subsequent murder of his niece Harriet. Vanger explains that he wishes Blomviskt to use his ‘keen investigative mind’ in looking over the case.

Blomviskt, in the light of his current financial situation, as well as his interest in the case, agrees. As the case progresses, Blomviskt requires the use of a research assistant, meeting the desperately troubled Lisbeth Salander (a magnetic Rooney Mara): the case captivates the pair.

Fincher is known, and sometimes critiqued, for his atmospheric, often oppressive, direction: certainly, much of the film, even daytime scenes remain rendered in darkness throughout maintaining a manner of pathetic fallacy. Being a fan of Fincher, I enjoy the atmospheric headiness his films create, finding them instrumental in creating the emotional core of the film, rather than it forming any sort of lazy short-hand in its efforts of creating meaning. Thus, the film’s frequent dim-lighting aids Fincher’s depiction of the murky environment both Blomviskt and Salander exist in.

Much of the film’s publicity revolved around the transformation of Rooney Mara, previously known for a brief but memorable role in Fincher’s prior film, The Social Network. Mara, attractive, albeit conventionally so, was shown in a number of publicity shots with multiple piercings, shorn hair and lots of leather.

Mara’s performance, despite the attention to her physical transformation, is not simply image based: her Lisbeth is affecting and at all times utterly compelling. Such is the strength of her performance, that despite the intrigue of the central plot line the film feels lacking whenever she is off-screen. This is not to deride the film as a whole; Fincher admirably handles the often jarring narrative and the rest of the cast, particularly Daniel Craig are all excellent, it’s just Mara’s performance is simply that good all others pale in comparison.

4/5

Reflections on the trailer for The Dark Knight Rises

2011-12-23T22:30:00.000Z

Signalling the end of the Batman franchise as far as Christopher Nolan and Christian Bale are concerned, The Dark Knight Rises trailer further highlights the hitherto excellent marketing campaign executed by the Nolan series, wonderfully whetting the appetite of fans eager to catch a glimpse of the latest instalment.

Giving little plot detail away, the trailer, set eight years after the events of The Dark Knight, features both Tom Hardy as Bane and Anne Hathaway as Catwoman. Despite my initial tentative reservations, Hathaway’s Catwoman looks promising, both suitably sexy and powerful. Hardy’s Bane delivers a threatening force: much of the discussion surrounding Bane’s appearance in previews has commented on the difficulty to understand Hardy’s dialogue, hindered by the mask he wears. Certainly his dialogue is not entirely clear in the trailer, but this issue will hopefully be rectified in time for the film’s release.

Reflections on the trailer for Prometheus

2011-12-23T22:16:00.000Z

Not being one for spoilers, especially films for which I harbour high expectations for, I was pleased by the teaser trailer for Ridley Scott’s Prometheus. Giving very little narrative away, the trailer instead consists of a number of quick-cut images, effectively depicting the scope of Scott’s film.

With an excellent cast, including Michael Fassbender and Charlize Theron, Scott’s film looks set to be highly impressive, hopefully seeing a return to form for the director after the relatively lacklustre Robin Hood.

Top Five Films From 2011

2011-12-20T21:48:00.001Z

Drive

Featuring a magnetic Ryan Gosling, Nichol Winding Refn’s Drive is certain to enter the cult-consciousness, largely thanks to an excellent soundtrack and stylish direction. Drive is so much more than its stylish aesthetics though, its subtle reflections upon the violence of man and the ability, or inability, to connect emotionally with others, creates a truly intellectual experience which some may find surprising considering the level of violence.

We Need to Talk About Kevin

Tilda Swinton and Ezra Miller make for both unsettling and chilling viewing in this story of a mother’s reflections upon her son’s act of mass murder. Heralding Lynne Ramsay’s return to filmmaking after difficulties within the Hollywood system, We Need to Talk About Kevin shows that Ramsay has learnt to successfully balance her own directorial style with a film that has mass appeal.

Snowtown

Featuring a number of highly disturbing scenes, Snowtown certainly isn’t an enjoyable watch: it is however, incredibly admirable, with excellent direction and a flawless, largely unknown cast. Documenting Australia’s worst serial killer, John Bunting, Snowtown takes the original approach of following the perpetrators of the crimes rather than the victims, resulting in a truly challenging work.

Wuthering Heights

The first adaptation to really capture the violent, passionate nature of Brontë’s novel, Andrea Arnold’s Wuthering Heights dispels with much of the original dialogue, allowing the essence of the novel to be depicted in all its glory.

Take Shelter

Demonstrating perhaps one of the finest depictions of mental illness and paranoia committed to film, Take Shelter stars Michael Shannon in arguably his best role to date. His performance as Curtis, whose increasing obsession begins to affect his relationship with both his family and friends, is entirely engaging.

The Tree of Life

Marking a return for the hitherto elusive Terrence Malick, The Tree of Life is arguably his most personal film to date. Depicting an exercise in mourning and grief, The Tree of Life’s personal nature in turn makes it Malick’s most touching and empathetic film.

Reflections on the trailer for The Five-Year Engagement

2011-12-13T10:03:00.000Z

Director Nicholas Stoller’s past credits consist of the fairly well-received Forgetting Sarah Marshall and its spin-off Get Me to the Greek. His latest effort, The Five-Year Engagement, co-written with its star Jason Segal, tells of a couple, Tom (Segal) and Violet (Emily Blunt), who are repeatedly forced to delay planning their matrimonial proceedings.

Being a fan of Emily Blunt, anything she’s involved with always peaks my interest. The Five-Year Engagement looks set to ride on the success enjoyed by Bridesmaids (indeed the film is, like Bridesmaids, produced by Apatow Productions), employing the seemingly only recently discovered concept of woman’s ability to be funny.

Blunt’s Violet is given, in the trailer at least, just as many funny lines as Segal; she is portrayed as intelligent, witty and funny to those around her. Blunt is a fine actress and I look forward to her comedic coupling, perhaps in a few years times it won’t be so unusual to see a film in which the main couple are allowed an equal comedic footing.

Four Favourite Christmas Films

2011-12-12T16:08:00.000Z

This list, as befitting the season, is unashamedly compiled of the feel-good films I spent the majority of my Christmases indulging in with my family.

Home Alone (1990)

Macaulay Culkin will forever be synonymous with his youthful incarnation Kevin McCallister, the young boy whose family forget to take him on holiday. Employing cartoon violence towards the opportunist, hapless burglars, Chris Columbus’ film is just as enjoyable today. Kevin’s reunion with his mother, whilst certainly manipulative, is nevertheless moving.

The Muppet Christmas Carol (1992)

For me, it’s the definitive Christmas Carol adaptation. It’s Michael Caine and the Muppets, need I say more?

The Santa Clause (1994)

Spawning a series of sub-par sequels best left unmentioned, the original film, starring Tim Allen, whilst still eminently enjoyable, has lost some of the sheen it once held. Its underpinning tinge of sadness seeps through in Scott’s desperate attempts to see his son.

How the Grinch Stole Christmas (2000)

Before Taylor Momsen joined Gossip Girl she was the cute, caring Cindy Lou Who, who in believing no one should be alone at Christmas seeks to reunite the Grinch with the people of Whoville. Starring Jim Carrey as the titular Grinch, How the Grinch Stole Christmas is a delight, genuinely funny and affecting, carefully balancing the saccharine with the Carrey comedy.

50/50 - Review

2011-12-12T15:58:00.001Z

50/50’s earnestness and exuberance make it almost impossible to deride; this, coupled with the narrative’s basis of fact, makes it difficult to critique a film which, despite impressive performances, is middling at best.

The film’s writer, Will Resier, went through his own cancer scare in actuality, and it is his experiences that inspired the narrative. Seth Rogen, who stars as the supporting best friend, effectively reprises the role he played in real life as Resier’s friend.

Adam (Joseph Gordon-Levitt) lives a life with which he is reasonably content: he is beginning to cement his relationship with girlfriend Rachel (Bryce Dallas Howard), enjoys his friendship with best friend Kyle (Seth Rogen), and aside from a few creative frustrations has little to complain about, aside from the occasional back-pain. This back-pain, thought by Adam to be entirely insignificant, serves as the impetus for the film’s ensuing narrative. As we quickly learn, the pain he is experiencing is caused by a large malignant tumour on his spine; through his own online research he learns that his chances of survival are 50%.

50/50 should at the very least be commended for its bravery in attempting to invest a serious subject with well-meaning humour. For the best part the humour does work, indeed it’s not from a lack of humour that causes 50/50 to ultimately fail. Despite the excellent cast 50/50 feels hollow somehow, some of the plot points, largely involving Adam’s young therapist (Anna Kendrick), end up feeling hackneyed.

Despite Gordon-Levitt’s best efforts, I found him difficult to truly empathise with: if it wasn’t for the circumstances created by the narrative, Adam’s character and his life wouldn’t be particularly involving. He’s not truly interesting in his own right, ultimately becoming defined by his illness.

3/5

Five Favourite Screenplays

2011-11-30T15:35:00.000Z

In Bruges (2008)

Martin McDonagh’s film of two Irish hit men hiding out in the city of Bruges wonderfully balances coarse comedy with some truly affecting moments. The fast-paced dialogue is expertly played by Brendan Gleeson and Colin Farrell, creating a number of highly quotable, memorable moments, alongside some truly upsetting moments.

Superbad (2007)

Also ranking high on the comedic, quotable scale, Superbad makes no attempts to stray from its comedic core: its brash, bawdy style is perfectly fitting of its youthful protagonists, representing the often obscene manner male youths communicate their feelings with one another.

Wuthering Heights (2011)

The only truly successful adaptation of Wuthering Heights is also the adaptation that strays the most from its source text: Hetreed and Arnold’s script features very little dialogue, instead choosing to infuse the film with the essence of Brontë’s novel rather than adapting her novel verbatim.

Lost in Translation (2003)

Sofia Coppola’s intellectual, naturalistic script may irk some in its underwhelming power, but for me, it is its unassuming nature that makes Coppola’s film so wonderful and ever heartbreaking.

Inglourious Basterds (2009)

The inclusion of Tarantino is certainly somewhat of a cliché, leading to this particular choice: Inglourious Basterds may not be the most obvious choice, but its portrayal of female characters, makes it for me, Tarantino’s most enjoyable film. Some may dislike Tarantino’s resolute style, consistently featuring pop-culture reference, along with witty one-liners, but there can surely be little doubting the influence Tarantino has had.

Take Shelter - Review

2011-11-30T15:30:00.002Z

Director and scriptwriter Jeff Nichols has, in his latest effort Take Shelter, committed to screen an expertly rendered depiction of mental illness. Curtis (Michael Shannon) begins to suffer from horrifically realistic nightmares: in one dream, his beloved pet dog nearly chews through his arm, resulting in Curtis feeling pain in his arm the day after. These dreams continue to take on an increasingly terrifying quality; Curtis begins to believe that these dreams, which always start with a storm, herald a premonition of an epic storm. Spurred into action, Curtis begins to build, at huge expense, a storm shelter to protect his wife Samantha (Jessica Chastain) and his young deaf daughter.

Despite Curtis’ belief in these apparitions, his schizophrenic mother and thus his own fear of mental illness causes him to question his own sanity. Reading up on the symptoms of schizophrenia, Curtis informs the counsellor he has met with, that he currently only exhibits two of the five signs - hallucinations and delusions.

The validity of Curtis’ hallucinations are secondary here, instead Nichols’ film is at its best when Curtis’ visions are at their most vivid, which are at times truly frightening in their realisation. Nichols’ direction may be too languorous for some, but its slow-pacing is not only successful in creating narrative tension, but in turn makes the film’s ending all the more effective.

Take Shelter is beautifully executed, wonderfully shot and crafted. The cast is flawless: Chastain, providing excellent support, is brilliantly understated as Curtis’ suffering yet understanding wife. Fearful of her husband’s apparent increasing mental instability, she remains ever faithful and trusting. Despite Chastain’s fine performance, there is little doubt that this is, at all times, Shannon’s film; he is careful to avoid straying into an overblown depiction, instead ensuring that Curtis retains the viewer’s empathy and understanding.

4/5

Snowtown - Review

2011-11-25T20:09:00.001Z

Between the years 1992-1997, John Bunting, thought by many to be Australia’s worst serial killer, committed a number of murders, choosing victims who were frequently known to him or his three accomplices. The crimes were only discovered when a number of barrels, containing the remains of several of their victims, were found in a former rented bank in Snowtown.

Justin Kurzel’s feature-length directorial debut is a shockingly violent, thoroughly visceral affair; his depiction of the murders and the perpetrators of the crimes is at times too tense to bear. Kurzel’s film depicts the murderers themselves; we see little of the later victims, instead showing the inner-workings of those committing the horrific acts.

Jamie Vlassakis (Lucas Pittaway), a vulnerable youth is, along with his two younger brothers, subjected to sexual abuse one night whilst his mother is away. The neighbour guilty of the crime quickly finds himself targeted by Bunting; Bunting’s targets are frequently those guilty or suspected of such crimes. Vlassakis’s mother, feeling guilt and anger over her sons’ abuse readily welcomes Bunting and his associates into her home, initially partaking in his diatribes against the unfair nature of the justice system that lets such people roam the streets.

Vlassakis and his family are easily seduced by the promise Bunting represents, an opportunity at a better life, with Jamie willing his mother to not ‘fuck this one up’. Such is Bunting’s charismatic charm that Jamie takes little persuasion to partake in increasingly more questionable actions, eventually culminating in acts beyond redemption.

Bunting, played by a chilling Daniel Henshall, is shown to be a highly capable manipulator: he rapidly steps into acting as the father figure for the Vlassakis boys, taking a vested interest in their days at school, ensuring they are fed properly – Bunting’s healthy meals are in sharp contrast to the earlier meals served by their struggling mother.

The film, despite its subject matter, is not simply spattered with gore, making the moments of extreme violence and torture all the more affecting and deeply shocking. So appalling are these moments that in several screenings, viewers have felt compelled to leave.

Snowtown is deeply disturbing, aided by a flawless cast; both Pittaway and especially Henshall are incredibly magnetic, demanding our attention throughout. Kurzel’s film, in its stark execution is a fine film, Snowtown makes, as it should given its subject matter, for incredibly uncomfortable viewing, indelibly affecting the viewer.

A stunning film certainly, its impact is best displayed through its haunting manner, its narrative and powerful performances ensuring the film stays with viewer long after its ending.

4/5

Wuthering Heights - Review

2011-11-20T11:51:00.002Z

There have been many adaptations of Wuthering Heights, each with differing approaches and varying degrees of success. For me, each adaptation has, despite its best efforts, ultimately failed – largely due to a romanticised idealisation of the central relationship, as well as a tendency towards melodrama. Those who have read the novel will know that the relationship between Cathy and Heathcliff is entirely unsuited to a romantic representation: the pair treat others, and each other, cruelly. An insular relationship, dependent on one another, Cathy and Heathcliff effectively destroy the lives of those who become entangled with them.

Arnold’s film wisely chooses to adapt the first half of the novel, allowing Cathy and Heathcliff’s childhood to take up the central narrative. Few, if any of the previous adaptations have devoted such time to the central pairing’s youth: decisions entirely questionable when we consider how much of the book is spent depicting their early youth. It is during these early years that their obsessive bond develops – without this focus, it is difficult for a viewer to understand the nature of their relationship.

There is little need to recount the events of Brontë’s novel, so embedded within culture are the names Cathy and Heathcliff that there are surely few who have not heard of the coupling in relation to romance.

Much of the critical commentary upon the film’s announcement and subsequent release has centred on the issue of casting, namely the youth of the cast and the casting of Heathcliff. Arnold’s film features the first black Heathcliff (played in his youth by Solomon Glave, and later by James Howson), enabling her film to focus upon the issues of racism raised in the source novel. Heathcliff’s isolation is far more acutely felt here, aside from his deep-felt connection with Cathy, he has no one else, rejected by the rest of the close-knit community.

Many have compared Arnold’s direction to that of Terrence Malick – certainly her attention to the details of nature are comparable, but Arnold’s depiction of nature is less static, less romanticised, holding far more potential for cruelty than that of Malick. The film astutely highlights the relationship between nature and that of the young lovers: Heathcliff and Cathy are forever retreating, ecstatically, to range far across the moors.

The young, largely unknown cast are a joy to watch, particularly the younger actors, Glaves and Shannon Beer as the young Cathy, both deeply engaging and charismatic. The film’s latter half feels, as it should, more stultified in comparison to the of the film’s earlier moments of utter release. The film’s latter half, in its claustrophobia, reflects the now caged Cathy, removed from her earlier abandon in her delight at the wild nature of the moors.

Beautifully shot, Arnold’s Wuthering Heights certainly isn’t perfect: there are some issues with the actors portraying the older Cathy and Heathcliff, largely a slight lack of chemistry, but the force of Arnold’s direction makes allowances for the film’s weaker moments.

Purists will undoubtedly baulk at the lack of literary dialogue: Arnold’s film prefers naturalistic cursing, and the resolutely unromantic approach to the relationship, but for me, this Wuthering Heights comes closest to capturing the essence of Brontë’s violent, passionate, often unruly novel.

4/5

Reflections on the trailer for Snow White and the Huntsman

2011-11-16T10:59:00.000Z

This week sees the release of the first part of the final film in the hugely successful Twilight Saga, it can thus be no coincidence that the first teaser trailer for Snow White and the Huntsman is too released: clearly hoping to capitalise on the Twilight fan base.

After forays into less conventional roles (The Runaways, Welcome to the Rileys), Kristen Stewart stars as Snow White, a film and role that could easily co-exist with her previous incarnation, Bella Swan.

There are clear attempts to create a rather more active Snow White: gone is the passivity of the Disney sanitised version, Stewart’s Snow White is shown wearing armour and comfortably wielding weaponry. Also starring Charlize Theron as the Evil Queen and Thor star Chris Hemsworth as the Huntsman, Snow White is unlikely to prove anything more than a throw-away fantasy film, although it will undoubtedly please those fans of both Twilight and Stewart.

Reflections on the trailer for Snowtown

2011-11-03T20:32:00.002Z

Based upon the Snowtown Murders, Snowtown has received numerous critical accolades on the festival circuit. Unusually following the perpetrators of the horrific murders, rather than the victims, director Justin Kurzel’s feature-length debut looks set to be both utterly compelling and thoroughly disturbing: a film to anticipate with trepidation.

Reflections on the trailer for Shame

2011-11-03T20:30:00.000Z

Garnering near-enough universal acclaim since its premiere at this year’s Venice Film Festival, Steve McQueen’s Shame features a truly impressive cast: Michael Fassbender and Carey Mulligan, both riding high off recent financial and critical successes.

If the critical acclaim, the cast and the director weren’t enough, this week’s release of a wonderfully constructed trailer simply further cements my very real anticipation.

Interspersing scenes of sexual desire and lust with scenes of Fassbender’s Brandon frantically running: as if to outrun his impulses, the visceral nature of the trailer helps demonstrate the obsessive, destructive nature of Brandon’s compulsive addiction. Needless to say, with a great trailer and an excellent poster campaign (see below), I am really looking forward to Shame.

We Need to Talk About Kevin - Review

2011-11-03T20:19:00.002Z

Lionel Shriver’s novel We Need to Talk About Kevin dwells upon the worst case scenario of both giving birth and raising a child. Shriver’s novel depicts some of the most abhorrent facets of human nature, questioning whether evil is inherent or is borne out of an unloving environment or relationship. Marking a return for director Lynne Ramsay after a nine-year hiatus, Ramsay’s direction, both clinical and highly visceral, wonderfully captures the mood Shriver’s novel instilled in its reader.

Eva Khatchadourian (a sublime Tilda Swinton) enjoys a blessed life travelling as a researcher for her travel-based company, each time returning to a loving husband (John C. Reilly). In a moment of misguided love and lust, Eva purposely chooses to conceive a child: it is the implications of this child that forms the basis of the ensuing narrative.

We see Eva staring at herself in the mirror rubbing her stomach, which now harbours something alien and possibly unwanted. After a difficult pregnancy, Kevin is born, whilst his father Franklin is immediately enamoured with their child, Eva struggles to connect. Kevin is soon revealed to be, in Eva’s presence, an unresponsive, complex child: wearing nappies far past the usual stage, Kevin watches Eva as she once again changes his maliciously soiled nappies.

At the basis of Shriver’s novel is the question of Kevin’s behaviour – is it an inherent personality defect, or a constructed reaction to an unfeeling mother? Certainly the unreliability of Eva’s narration in Shriver’s novel leaves this up to the viewer – this unreliability is difficult to translate onscreen, thus the autonomy of Eva’s memories leaves the viewer with little reason to question her recollections.

Swinton, as mentioned, is wonderful as Eva, capably ensuring that a rather cold character remains at all times entirely empathetic. Ezra Miller as the eponymous Kevin is quite perfect, remaining ever compelling, despite or perhaps because of, the atrocity of his actions. His final scene, addressing his mother as he prepares to move on, truly displays the depth of Miller’s performance: changing from assured surely teen, to the child he really is.

Ramsay’s film deeply unsettles: its continued colour motifs both herald and reflect back to Kevin’s actions, a flash of bright colour in an otherwise sombre palette. Ramsay, wisely, does not depict the violent nature of Kevin’s actions, despite their prolonged description in the source text. This decision not only avoids detracting attention from Eva, but in a sense increases the nature of his crime: our own imagination creates events out of the little information we are afforded, surely creating a far worse sequence of events than the reality.

Ramsay’s film creates a work of art in its own right, not simply derived from its source material, her vision is very much her own account and all the more impressive for it.

4/5

Reflections on the trailer for In the Land of Blood and Honey

2011-10-24T23:08:00.000+01:00

Angelina Jolie’s self-penned directorial debut, In the Land of Blood and Honey, initially caused controversy upon its announcement. Largely due to an apparent narrative misconception, Jolie was originally denied access to filming in Bosnia, although these rights were later restored.

Detailing a relationship between a Bosnian war victim and a Serbian war criminal, Jolie’s film also found itself criticised by those affected directly by the conflict, with many questioning, and taking issue with, the central relationship.

Amidst the media furore over the ‘Brangelina’ brand, it’s easy to forget that not only is Jolie an Oscar winner (for her work in Girl Interrupted) as well as being nominated for Best Actress for The Changeling , but is also heavily involved in working for the UN as a Goodwill Ambassador: qualifications that, one would

hope, make her capable of producing a sensitive, well-directed piece of work.

Certainly the trailer impresses in its stark cinematic nature: many critics have already linked the film to an awards win for Jolie. The narrative looks largely involving, and the acting looks promising.

Putting the film itself aside, it is the gender of the film’s writer and director that interests me the most: female directors are still sadly lacking in Hollywood, hopefully Jolie’s film will help to resolve this.

Tyrannosaur - Review

2011-10-23T11:24:00.001+01:00

There is no doubting the sincerity of Paddy Considine’s feature-length directorial debut: certainly the Considine-penned script is almost grotesque in its moments of clarity. Despite this, or indeed directly due to this, Considine’s film has been accused of appealing to a comfy middle-class, depicting brutal working-class stereotypes almost as a form of voyeuristic amusement.

Arguably, Considine’s film involves itself in political and social discourse through its depiction of problems supposedly endemic within this society. Importantly these issues are not self-contained, but rather leak out across social classes: the most heinous crimes depicted in the film take place within a comfortably middle-class home.

Joseph (Peter Mullan) finds himself at times working himself into a powerful, maddened frenzy, a frenzy often exacerbated by his frequent alcohol indulgence. Considine’s direction honestly and often graphically depicts the consequences of Joseph’s anger. At the film’s opening, Joseph, angered by an altercation, kicks his dog to death. Destroying an animal that he loved, and that faithfully loved him in return. Nothing is safe nor sacred from Joseph’s anger, and his self-realisation often comes too late, unable to prevent his committing acts of violence and criminality.

After one such event of wanton abuse, Joseph takes shelter in a Christian charity shop. Hannah (Olivia Colman), working there, offers both a cup of tea and her prayers, praying audibly to an increasingly distraught Joseph.

Joseph, much like the viewer may be inclined to do, believes that Hannah, who he learns lives in the wealthy ‘Manor Estates’, is both ignorant and naive: how could she know of his problems? As it quickly transpires, Hannah, despite her apparent happy demeanour, is suffering under a verbally and physically abusive husband (a chilling Eddie Marsan).

Many have commented on the relentless, horrific nature of the film, certainly Considine’s direction never shies away from its depiction of debasement: although some acts, seemingly deemed too much to bear witness too, are left for us to learn verbally. Certainly the film depicts a bleak reality, but for me its bleakness demonstrates a form of social realism. Whilst we are left with a sense of hope during the film’s final moments, there are no Hollywood endings here: characters are forced to deal with the consequences of their actions.

The cast are all wonderful, Marsan is deeply terrifying and Mullan’s Joseph is complex enough for us to both damn his acts whilst empathising with his current state. For me, however, it is Colman that stands out in her brutally honest, hugely brave portrayal of Hannah. Known previously for her comedic roles in such comedies as Peep Show, Colman’s dramatic abilities are a revelation. Her gentle moments of faux joviality as she greets a customer with all-too-apparent bruising are heart-breaking in their futility. Colman provides the much needed emotional centre to the film; there are no ambiguities with her, we simply feel empathy for her. This is not to say her character is any less complex than Mullan’s Joseph, certainly her relationship with her husband is fraught with complexities, but rather her Hannah evokes our sympathies more easily.

Undoubtedly Tyrannosaur is a harrowing experience, depicting varying inhumane acts. Despite this (certainly little to recommend itself for some viewers), Considine’s film should surely be viewed by all those who feel fit to experience the often visceral nature of the film.

4/5

Crazy, Stupid, Love. - Review

2011-10-09T16:36:00.001+01:00

After a number of successful roles in independent films, Ryan Gosling has, this year, appeared to begin to broach the mainstream, carefully maintaining a balance between both the populist and the critically acclaimed. The release of both the slow-burning thriller Drive and the romantic comedy Crazy, Stupid, Love typifies this balance, further showcasing Gosling’s considerable talents.

Crazy, Stupid, Love features an impressive cast: starring Steve Carell, Julianne Moore and Emma Stone alongside the aforementioned Gosling. Unlike the more usual, and thus often dull, romantic comedies, Crazy, Stupid, Love features the breakdown of a married relationship and the couple’s subsequent attempts to rediscover their love for one another: this couple are older than your typical rom-com couple, and are fairly realistically represented.

Cal (Carell), believing his relationship with Emily (Moore) to be solid, is surprised by her shock admission at both infidelity and her desire for a divorce. Cal, frequenting a bar, regularly and loudly bemoans the current state of his relationship, attracting the attention of Jacob (Gosling), a self-acknowledged charmer, who experiences considerable success with women. Jacob, recognising Cal’s current inability to both move on and attract a new partner, offers to effectively mentor Cal, helping him to purchase new stylish clothes and aid his success with other women.

Whilst Cal begins to experience the delights of his new-found look and confidence, Jacob meets Hannah (Stone), who seems resistant to his charms, despite his best efforts. In less capable hands Jacob’s often arrogant character could have grated and irritated. Instead, Gosling ensures Jacob, despite his self-assurance, remains thoroughly likeable and eminently watchable. Cal too, could have become increasingly pathetic considering his bereft state: instead his love for his wife feels genuine and believable.

Crazy, Stupid, Love stands out from the usual fairly dismal additions to the rom-com genre: largely in part to its great cast, but mostly due to the very nature of the film. The film’s focus isn’t simply upon new, exciting, immersive love (although this does feature), but also upon the love experienced by a couple who have been together for over twenty years and haven’t tired of one another, rather, they begin to appreciate one another more. This approach, representing married love as something to aspire to, is truly refreshing in an age of teen-focussed romantic entanglements.

Despite this, Crazy, Stupid, Love is ultimately let down by an overly saccharine ending, straying dangerously into a Richard Curtis-style public declaration of love, stressing the importance of finding your soul-mate. The film had already made this point in a far more subtle, and thus realistic manner, and it is this ending that prevents the film from becoming truly great; instead Crazy, Stupid, Love is merely good, disappointingly so when it could have been so much more.

3/5

Tinker, Tailor, Soldier, Spy - Review

2011-10-07T16:25:00.001+01:00

In his 2008 release, Let the Right One In, Tomas Alfredson displayed, amongst his numerous directorial talents, his ability to evoke and wonderfully realise a very definite era. His latest effort and his first English language film, flawlessly captures the very specific Cold War era of its same-named source novel Tinker, Tailor, Soldier, Spy.

The film’s narrative, despite being firmly rooted in espionage, will prove unfamiliar to those audience members more acquainted with the rather more typical high-octane thriller. Rather, Tinker, Tailor, Soldier, Spy is a puzzle of Alfredson’s direction, inviting the viewer to formulate their own theories.

Alfredson’s direction, largely through the complex narrative, often gives very little away to the viewer – the narrative, clearly both skimmed and simplified from its source, at times confuses, forcing the viewer to fully engage with the subject matter, often to simply keep pace with the plot. This is not to Alfredson’s detriment by any means, but rather indicates the density of its literary source. Alfredson’s direction, often oppressive, aids the tension, creating a real sense of paranoia.

Compelled out of retirement by the suspected existence of a mole within the British Secret Service, George Smiley (a brilliant Gary Oldman), working alongside, amongst others, Peter Guillam (Benedict Cumberbatch) is forced to act under the radar, keeping the operation secret from all aside from a very select few. He knows that the mole is one of five men, men he has spent years working with: Smiley is thus forced to question the prior contact he has had with these men.

The film rests entirely upon Oldman’s performance; this is Smiley’s story, everything we witness is through his experience, with others both confessing and conferring through him. Oldman’s Smiley is a master-class in the art of subtle acting. His Smiley betrays little emotion for much of the film’s duration, ensuring in turn, through this lack of discernible emotion, that the very few scenes in which real feeling is unveiled is made all the more devastating and affecting.

The rest of the cast are certainly as equally flawless: Cumberbatch and Tom Hardy, a magnetic Ricki Tarr, are especially engaging within the little screen-time afforded. Hardy’s character-arc in particular creates much of the film’s much needed emotional core: Tarr’s affecting story acts as a relief, depicting deep-felt sentiment in an otherwise often austere environment.

There can surely be little doubt that this is Oldman’s film, his Smiley’s mannered nature belies a wealth of affection and hurt: all the more moving through his failure to recognise it.

4/5

Reflections on the trailer for J. Edgar

2011-09-23T10:51:00.000+01:00

Portraying the lush period details we have come to expect from director Clint Eastwood, the trailer for his latest effort, J. Edgar, is certainly beautifully realised, wonderfully embodying the period.

Despite this, the trailer left me decidedly cold; even the excellent cast: Leonardo DiCaprio, Naomi Watts and Judi Dench among others, isn’t enough to really get me excited.

Depicting the tenure of J. Edgar Hoover as director of the FBI, Eastwood’s film looks set to depict both Hoover’s early and controversial later career.

I have yet to see a Eastwood directed film that I haven’t found to either be over indulgent or overly saccharine – perhaps his latest will be the exception.

Reflections on the trailer for Wuthering Heights

2011-09-23T10:48:00.000+01:00

After the release of the teaser footage of Andrea Arnold’s Wuthering Heights earlier this month comes the first trailer for the literary adaptation.

The trailer uses very little dialogue, being constructed from a number of short shots; the trailer goes out of its way to convey the mood of the film.

As can be seen, it would appear that Arnold has chosen to focus largely on nature, perhaps nature in relation to the characters: readers of the novel will remember how central the theme of nature is to the novel and the extent to which it reflects the very nature of the characters themselves.

The trailer further depicts the hand-held camera technique employed by Arnold, deconstructing the rather staid presentation usually seen in period pieces.

Jane Eyre - Review

2011-09-23T10:45:00.001+01:00

2011 sees two new adaptations of certainly the best-known Brontë novels: Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights. Andrea Arnold, in tackling the complex Wuthering Heights, has chosen to adapt only the first half of the novel, removing much of the dialogue, stripping away the narrative to focus on central themes. Cary Fukunaga chooses little in the way of obvious innovation, at times treating the novel with a real sense of reverence. This is not to say the film is doggedly faithful to the novel, but rather Fukunaga’s film has chosen to adapt the novel in a manner which will please fans.

Many will be familiar with Brontë’s narrative: a young girl, Jane Eyre, suffering mistreatment through her aunt and later the school she is forced to attend, becomes a governess at Thornfield Hall, the house of the unfathomable Mr Rochester. Moira Buffini‘s screenplay injects the narrative with a new vitality, choosing to open the story with Jane’s flight from Thornfield Hall after Rochester’s revelation, the narrative then reverts to a fairly linear structure.

This approach, creating a non-linear narrative, greatly aids the film’s pacing: despite being a fan of the novel myself, I often found the final section with Jane’s time with St. John Rivers slow, lacking the vivacity injected earlier on in the novel in scenes between Jane and Rochester. Thus, breaking up Jane’s time with Rivers breaks up what has previously slowed down the narrative in previous adaptations.

The cast, Michael Fassbender as Rochester and Mia Wasikowska as Jane, are quite perfect, wonderfully embodying their literary counterparts. Wasikowska in particular, being closer in age to the Jane of the novel than prior adaptations, not only fulfils fans’ expectations but arguably portrays perhaps the best characterisation of Jane there has been. Wasikowska perfectly downplays Jane’s looks, yet despite her plainness, it is all too apparent why Mr Rochester may find her attractive. Her directness and her call for excitement in her life certainly helps make this Jane a far more overt feminist creation than prior incarnations. Wasikowska’s Jane, despite the lack of a first-person narration, is at all times entirely discernible to the audience: we understand her thoughts and her emotions, finding it easy to empathise with her plight.

Fukunaga’s Jane Eyre may not be revolutionary in an obvious way, but its direction, cast and chosen narrative structure creates a vital, energetic adaptation. Arguably, this Jane Eyre will now be the adaptation others are compared to; a beautiful film.

4/5

Five Worst Romantic Comedies

2011-09-18T21:53:00.001+01:00

Bride Wars

Deservedly critically mauled upon its release, Bride Wars is, rather simply put, a terrible film. Anne Hathaway and Kate Hudson play two best friends who, after attempting to arrange their respective weddings, are compelled to fall out over an argument in changing the date of their wedding. Hudson is inexplicably a lawyer, supposedly personifying her brutal, calculating character. Hathaway, in a similar supposed short-hand for characterisation, is a fluffy teacher – demonstrating her lack of determination and leadership.

Bitchy insults ensue, painting women in a fairly negative manner, to say the least. Hudson and Hathaway, despite their careers, demonstrate little intelligence, little empathy, nor any capacity for selflessness. A poor approximation of what women are like.

Leap Year

Stereotypical in the extreme, Leap Year at times strays into flagrant racism in its depiction of Ireland. Rom-coms are, of course, always predictable, but the journey to the inevitable ending needs to be enjoyable for the film to work: Leap Year is simply boring and overly mawkish. Amy Adams undoubtedly does her best, but even her effervescent nature is not enough to save Leap Year.

Rumor Has It

In an attempt at creating a clever narrative, Rumor Has It‘s plot rests on the improbable idea that the characters in the film were the inspiration behind The Graduate. Dubious intertextuality aside, Rumor Has It has little to sustain a viewer’s interest. Jennifer Aniston, Kevin Costner and Shirley McLaine, should, on paper, make for a decent cast – sadly, this is certainly not the case, resulting in a remarkably lacklustre film.

The Wedding Date

Basing a film’s narrative upon a morally questionable premise – the hiring of a male prostitute – is only a small part of what’s wrong with The Wedding Date. Debra Messing stars as a woman so insecure she feels the need to hire a ‘fake’ boyfriend to accompany her to her sister’s wedding. Questionable premise aside, The Wedding Date is filled with out-moded, often bizarre soundbites – choice lines include ‘I'd rather fight with you than make love with anyone else.’ Or even better, ‘The hardest thing is loving someone and then having the courage to let them love you back.’ Are they serious with this stuff?

If that wasn’t bad enough, The Wedding Date’s narrative is entirely incoherent – for such a predictable film, the inability to follow said film is a huge failing on the part of the writers.

The Switch

Striking another blow for female-kind, The Switch stars Jennifer Aniston as Kassie, whose all-too-apparent biological clock demands she has a child. Lacking a partner, Kassie undertakes artificial insemination to achieve her longed for child. Her best friend Wally (Jason Bateman), in love with Kassie, getting drunk one night, ends up replacing the donor sperm with his own.

Apparently such a crime, a complete violation of trust and boundaries, makes you angry for a while, until you forget the whole affair, simply pleased you ended up with your child.

Friends with Benefits - Review

2011-09-18T19:46:00.001+01:00

There have been two comedies this year that have based their narrative around the purported idea of ‘sex without emotions’, three if you include Love and Other Drugs; Friends with Benefits is the last to jump on the bandwagon. Despite its late addition to a fast-tiring genre, the Justin Timberlake and Mila Kunis coupling here is not only the most convincing, but certainly the most enjoyable: considering the company however, that’s not much of a worthy accolade.

Notably, the Will Gluck-directed film (known for his excellent Easy A), is the only film out of the three to actually feature two people who, prior to engaging in a sexual relationship, were genuinely friends first. Jamie (Kunis), in the course of her job as an Executive Recruiter, comes into contact with Dylan (Timberlake), an Art Director based in LA. Believing him to be perfect for an available role at GQ, Jamie invites Dylan to New York, courting him into accepting the job by showing him the delights New York has to offer.

Uprooted from his family in LA, Dylan, now not knowing anyone in New York aside from Jamie, invites her to lunch – the two quickly become friends. Both single, the pair express a desire for sex without emotional attachments, stating that they simply miss the physical act – the pair decide that their friendship can withstand their indulgence in the physical.

Thus the two embark on a purely sexual relationship – this being a romantic comedy, the resolution is clear from the start. As with all romantic comedies then, it is the journey towards the inevitable upon which the film lies. Friends with Benefits, after a fairly snappy opening, rapidly descends into moments of boredom, feeling needlessly overlong.

Kunis and Timberlake certainly have great chemistry: the pair are infinitely more watchable than the couplings of the other aforementioned films, but this chemistry is not enough to sustain the entire film. The film, with its 15 certificate, indulges in a little child-like revelry at times – using ‘fuck’ needlessly, depicting nudity for mere titillation at times, rather than any real attempt at narrative progression.

After Gluck’s enjoyable Easy A, Friends with Benefits feels lethargic in comparison – perhaps with a better, sharper script, Friends with Benefits could have been greatly improved. Certainly Timberlake and Kunis deserve a better comedy to really showcase their talents.

2/5

Reflections on the trailer for Tyrannosaur

2011-09-15T23:35:00.001+01:00

Tyrannosaur, Paddy Considine’s feature directorial debut, has already received much critical praise, particularly at this year’s Sundance Film Festival.

Starring Olivia Colman, Eddie Marsan and Peter Mullan, Tyrannosaur looks both flawlessly acted and emotionally devastating.

Colman plays Hannah, a Christian charity shop worker, whose religious optimism is tragically undermined by the abuse she suffers at the hands of her husband James (Marsan). Hannah develops a tenuous friendship with Joseph (Mullan), a man plagued by his own destructive behaviour.

Marsan, since his truly terrifying performance in This is England ’86, has for me, simply cemented his ability to create such powerful performances.

Tyrannosaur, whilst certainly not a film to look forward in any traditional sense, is a film that should surely be seen by a wide audience: its cast and directorial accolades are reason enough.

Reflections on the trailer for We Bought a Zoo

2011-09-15T23:26:00.000+01:00

Having not directed a feature film since the average Elizabeth Town in 2005, Cameron Crowe returns with We Bought a Zoo, based upon the memoir by Benjamin Mee.

Matt Damon stars as a single father struggling to bring up his two children; seeking a new start, he moves to the countryside, buying a property which entails the ownership of a Zoo. Scarlett Johansson also stars, presumably as a suitable love interest for Damon.

Crowe is known for his often saccharine approach to film and We Bought a Zoo looks to be no exception. Judging by the trailer alone, Crowe’s latest looks, to me at least, dull, unexciting and uninspired.

The Guard - Review

2011-09-11T20:50:00.001+01:00

John Michael McDonagh’s The Guard holds a number of notable similarities to his brother Martin McDonagh’s earlier film In Bruges. The Guard echoes In Bruges thematically, in its choice of style and humour along with the casting of its lead actor – in both cases the talented Brendan Gleeson.

This is not to say that John Michael McDonagh’s film is incapable of breaking away from the stylistic decisions of his brother’s earlier film. Despite their marked similarities, The Guard is fully formed, able to create its own impression upon the viewer, free from any pre-conceived constraints.

Sergeant Gerry Boyle (Brendan Gleeson), despite the supposed subscription to the law his job should involve, has no qualms in indulging his sexual appetites through the hiring of prostitutes. Neither does he concern himself with legalities in partaking in recreational drug-use – such substances often retrieved as evidence.

Wendell Everett (Don Cheadle), newly arrived from America and working for the FBI, has tracked a gang of drug smugglers to the hitherto-quiet County Galway Garda. Everett, compelled to work with Boyle, frequently remonstrates Boyle’s habit of unloading inappropriate predilections, including his taste for illegal drugs.

Assimilating the traditional buddy-cop style film, McDonagh both uses and uproots these conventions, providing much of the film’s humour. The eventual relationship between Boyle and Everett remains both highly amusing, and becomes genuinely affecting. Boyle and Everett may not particularly like one another, but they are compelled to work together.

The sparring between the pair aids the high-concept yet simplistic narrative. McDonagh makes much reference to cultural pursuits, clearly indicating the audience he wishes to appeal to. His drug smugglers engage in discourse about their favourite philosophers, quoting Nietzsche. Boyle and his mother discuss the merits of Russian literature as she reads her copy of Oblomov.

The narrative itself may be slightly clumsy and arguably incoherent at times, but such is the performance of Gleeson that these faults are easily overlooked and forgiven. The Guard is certainly flawed, but is hugely enjoyable nonetheless.

4/5

Reflections on the trailer for Drive

2011-09-04T18:36:00.000+01:00

Winning Nicholas Refn best director at the 2011 Cannes Film Festival, Drive, starring Ryan Gosling and Carey Mulligan, has received various critical acclaim since its premiere.

Ryan Gosling has, for me, always been an exciting actor to watch, his performances in Half Nelson and Blue Valentine especially were both affecting and deeply engaging, despite the flawed nature of the protagonists. His more action-centred role here interests me, known for his interest in the emotional cerebral, I look forward to the quality he will bring here.

Gosling’s appearance alone then would have been enough to pique my interest in Drive, fortunately, Drive looks set to be genuinely thrilling. With a great cast, Drive’s release generates real anticipation.

Reflections on the trailer for Warrior

2011-09-04T16:52:00.000+01:00

Starring Tom Hardy, the Warrior’s release seems ill-timed. After the critical success of The Fighter last year, any similar genre-led film – competitive fighting anchored by an emotional drama – will invariably draw comparisons.

Tom Hardy is consistently excellent, but I’m not convinced that even his considerable talents can be enough to ensure Warrior not only avoids a leaning towards mawkishness, which the trailer appears to exemplify, but to also outshine its successful predecessor.

First look at Andrea Arnold's Wuthering Heights

2011-09-03T22:23:00.001+01:00

Each adaptation of Wuthering Heights has, to date, been imperfect. Early adaptations, such as William Wyler’s 1939 adaptation, chose to exclude the second-half of the novel – in turn losing much of the emotional complexity Emily Brontë’s novel is so imbued with. Later adaptations, in adapting the novel in its entirety, often struggled with the multi-layered, complex narrative.

Coky Giedroyc’s 2009 adaptation, starring Tom Hardy and Charlotte Riley as the central protagonists, is for me personally, the closest adaptation to capturing Brontë’s atmospheric text: more a story of hate, than of love, Giedroyc’s direction allows the violent nature of the text to take centre stage.

Despite this, even the 2009 adaptation is left undoubtedly lacking – weaker members of the cast lend themselves heavily towards melodrama, whilst the direction is arguably too loose at times, struggling to maintain its hold over the narrative. The decision by screenwriter Peter Bowker to disrupt the narrative structure simply complicates proceedings.

It is this lack of a truly good adaptation that has reinforced my excitement for Andrea Arnold’s adaptation. Arnold, a wonderfully talented director, has both referenced and recognised the importance of nature in the novel and her casting decisions could prove to be inspired. Kaya Scodelario (Cathy) and James Howson (Heathcliff) particularly seem well cast, their youth lending an urgency to proceedings.

The teaser footage hugely impresses, the use of a hand-held camera lends a real feeling of immediacy, its use is also highly refreshing, breaking down the more conventional, rather staid style of period dramas. Here nature is almost oppressive, with Arnold perfectly capturing the landscape so integral to both the novel and its characterisation. Needless to say, I have high hopes of Arnold’s film, truly hoping it may finally provide me with a perfect adaptation.

Reflections on the trailer for The Hunger Games

2011-08-31T23:21:00.000+01:00

Based upon the young-adult sci-fi novel of the same name by Suzanne Collins, The Hunger Games appears to be the latest in the recent glut of teen-friendly fare.

Starring Jennifer Lawrence, The Hunger Games details a post-apocalyptic world in which youths are forced to participate in a televised fight to the death, the so-called ‘Hunger Games’.

The trailer itself has a rather definite Twilight style, largely denoted through the application of a male voiceover.

Lawrence, so wonderful in Winter’s Bone, is undoubtedly a fine actress and perhaps her performance and skill will in turn buoy the film. The trailer, although only a brief teaser, stills fails to make much of an impression, failing to create a tangible sense of what we can expect to see. At the moment, The Hunger Games leaves me feeling decidedly underwhelmed.

The Skin I Live In - Review

2011-08-29T22:59:00.001+01:00

The Skin I Live In, Almodóvar’s latest effort, revisiting many of the director’s preoccupations - sexuality, identity and desire – is deliciously bizarre, at times almost carnivalesque in its melodramatic execution.

Almodóvar’s narrative is so imbued with twists that any detailed plot synopsis risks giving too much away. Such is the nature of his film that a viewer’s enjoyment risks being detrimentally altered through too much prior knowledge.

Antonio Banderas reunites with the director as the enigmatic Robert Ledgard, a highly experimental plastic surgeon determined to create, through the forbidden method of transgenesis, a skin capable of withstanding and surviving being burnt. Within his elegant, sprawling home, a young woman, Vera (Elena Anaya) is compelled to remain in captivity, against her all-too-apparent will. The relationship between the two is both complex and confused: Vera exhibits a physical fascination for Ledgard.

Loosely based upon Thierry Jonquet’s pulp novel Tarantula, Almodóvar’s direction of his engaging narrative remains controlled and mastered, displaying his sheer craftsmanship. Utterly beautiful to look at, Almodóvar’s direction remains flawless, the camera lingering over the stunning Vera, encouraging the viewer to gaze upon her, much in the manner Ledgard employs: we become complicit in his voyeurism.

Banderas, long since lost in child-friendly fare, excels as the inscrutable, often morally reprehensible Ledgard. Anaya too is wonderfully bewitching as the fascinating Vera, as we too understand Ledgard’s obsession.

Some may find the film’s subject matter difficult to both empathise and emote with, but that is surely the very nature of the film. Much like Ledgard’s attempts at creating perfection, Almodóvar’s film has a glossy sheen to it, seemingly replicating its subject matter.

4/5

One Day - Review

2011-08-29T17:00:00.002+01:00

There is little doubting the success of David Nicholls’ novel since its 2009 release: its characters, beloved by many, have led to the creation of a cohort of fiercely protective fans. As with many page to screen adaptations, fans of the novel have sought for absolute fidelity, in turn particularly decrying the choice of Anne Hathaway as Emma, questioning both her all-too-apparent attractiveness and her ability to adopt a Yorkshire accent.

Fears for Hathaway’s accent were certainly well-founded, ranging from Received Pronunciation to a hyperbolic impression of what a Yorkshire accent should sound like, her Emma lacks the self-deprecating, acerbic quality that many found so appealing. Aside from her lack of a realistic accent, Hathaway simply fails to make an impression. Jodie Whittaker and Romola Garai breathe more life into their brief scenes than Hathaway manages for the whole film;Whittaker especially would have surely excelled if given the role of Emma.

Nicholls’ narrative focuses upon the intertwining lives of Emma and Dexter. Meeting upon graduation and awaking on St. Swithin’s Day, Emma and Dexter’s subsequent friendship waxes and wanes over the ensuing years, with Nicholls’ narrative returning to St. Swithin’s Day each year. This narrative technique is easy to absorb in a novel form, but makes for jarring, disrupted viewing in Lone Scherfig’s film.

Each St. Swithin’s Day is signalled by a brief title card, often incorporated clumsily within the scene – at one point appearing as a screensaver upon a laptop. This technique leads to little character development: the film would have perhaps benefitted from less focus on the changing years and greater time spent on individual years, allowing for greater character development. The characters barely change, failing in turn to create any real sense of empathy. How can the viewer be expected to care about a character’s journey when so little of it is shown?

Admittedly not a fan of the novel myself, I suspect the appeal for many lay in the depiction of protagonists various foibles. Here Scherfig’s film and Nicholls’ script presents us with a sanitised version of Emma and Dexter. Dexter’s cocaine addiction and increasing alcoholism is barely alluded to, whilst Emma’s self-destructive tendencies are removed entirely, dispelling with the few elements that made the characters engaging. Dexter and Emma in their screen incarnations are entirely dull; I cared little for the characters, nor for the film’s outcome.

2/5

The Inbetweeners Movie - Review

2011-08-22T23:00:00.001+01:00

With the success enjoyed by the first three series, a big screen outing for The Inbetweeners was somewhat inevitable, further allowing its creators to capitalise on its current popularity.

Despite the certain popularity of the series, there can surely be little doubt that The Inbetweeners is at best an amusing diversion: funny enough, but arguably not really good enough to ever really compete with other, better-written series. The Inbetweeners’ appeal may well lie in its setting, familiar to its target audience and the youth of its characters, ensuring they maintain an element of relatability, regardless of the outlandish nature of the situations they become involved in.

Sustaining this relatable manner, The Inbetweeners Movie adopts a ‘lads holiday’ setting, allowing its predominantly youthful audience to perhaps relive their own individual escapades: much of the humour here lies in this assumption that its audience may have embarked upon a similar holiday, or will be doing so in the near future.

After finishing school, Jay, Will, Neil and Simon are prompted into booking a holiday to Malia after Simon is left devastated by the breakdown of his relationship with Carli (a continual object of his affection during the previous three series). What ensues is fairly standard ‘lads abroad’ fare, aided by the genuine, charmed performances from the four leads. Thus scenes of drunkenness, crude depictions and references to sex and some thoroughly disgusting moments of gross-out humour abound.

The Inbetweeners Movie may not offer anything new, or display any real sense of inspiration, but it succeeds in creating a number of truly funny set-pieces, whilst further developing the already-present honest, caring relationship between the four. It is this sincere friendship, unexpectedly considerate, that helps the film to rise above the usual sub-standard fare. A welcome light-hearted teen comedy, which despite its target audience, is likely to appeal to many. Fans of the series will surely be sated.

3/5

Reflections on the trailer for Carnage

2011-08-22T22:57:00.000+01:00

Regardless of your own particular opinion of Roman Polanski and his previous acts, his ability as a director has surely never been in doubt.

His latest effort, Carnage, based upon the play God of Carnage by Yasmina Reza, boasts a hugely talented cast: Kate Winslet and Christopher Waltz, John C. Reilly and Jodie Foster as two couples who undergo an increasingly acrimonious dispute over their own child and each child’s involvement in a supposed altercation.

The trailer impresses: Foster and Winslet particularly are both excellent actresses. Waltz, since his appearance in Inglorious Basterds has become increasingly in demand, whilst Reilly is consistently outstanding.

The black-humour aspect looks perfectly pitched, with each cast member acting wonderfully outlandish whilst remaining in control at all times. Certainly a film to look forward to, and if successful in its execution, I wouldn’t be surprised, albeit tentatively, to see the film performing well during Awards season.

Reflections on the trailer for Hysteria

2011-08-21T17:08:00.001+01:00

Hysteria starring Hugh Dancy, Maggie Gyllenhaal and Rupert Everett, is billed as a supposedly hilarious, historical-based comedy. At a time when women diagnosed with hysteria were treated through being brought to the point of orgasm, the film details the invention of the first vibrator.

The film, taking a whimsical, light-hearted approach to a serious issue seems to not only miss out on the possibility of creating a stronger film, but glosses over the very issue of the treatment of hysteria.

For many, this treatment is surely tantamount to sexual abuse: at a time when women were given little option over their lives and advancements in psychological study were only just being made, Hysteria, for me, feels distasteful in the extreme.

Super 8 - Review

2011-08-17T13:07:00.001+01:00

Super 8, steeped in nostalgia, owes rather a large debt to the films of its producer Steven Spielberg. Through this rather clear association, in which director and screenwriter JJ Abrams’ clearly borrows rather heavily from Spielberg’s back catalogue, Super 8 felt greatly reminiscent of the films of my childhood – purely because it was Spielberg’s films that comprised my early childhood film viewing. Cynics may use this to point to a lack of inspiration on Abrams’ part, but for me, this homage should be viewed positively, rather than used to any detriment.

After his mother dies, the young Joe (Joel Courtney), left with his largely absent Deputy Sheriff father Jackson (Kyle Chandler), immerses himself in contributing to his friend Charles’s (Riley Griffiths) directorial aspirations. Charles manages to persuade object of local affection Alice (Elle Fanning) to join his cast, comprised of Joe and Charles’s group of friends, to help him film a zombie film on Super 8 film.

Filming late at night alongside a train-line, hoping to capture a passing train to add ‘production value’, the group witness a horrific train crash, seemingly caused by their biology teacher Dr. Woodward. Woodward warns them not to discuss what they have witnessed or their lives, as well as their lives of their parents, will be risked.

Following the train crash, electrical items begin to disappear and dogs thought to have run away are discovered in different counties. Military Personnel arrive, hoping to contain the scene they refuse to discuss with Deputy Sheriff Jackson what exactly is taking place, despite his persistence.

It is here that the film, whilst entertaining, arguably loses its narrative grip: Abrams’ set-up, of a group of teenagers attempting to film a monster movie, could have sustained the plot in its own right. The interaction between the friends and the gentle romantic interest easily charms its audience, with the narrative needing little else to engage its audience.

Abrams’ decision to introduce a sci-fi element not only takes its influence from the films of Spielberg, but also feels rather typical of Abrams. Arguably, Super 8 not only lends heavily from the aforementioned Spielberg, but also rather too easily falls in line with Abrams’ familiar territory, perhaps explaining the all-too-apparent lack of any inspirations.

That is not to say that Super 8 is a poor film, far from it, but this lack of originality quickly feels lacklustre. The cast, especially the excellent Elle Fanning, are all wonderful, believable and fully capable of creating genuine empathy. In order for Super 8 to be truly enjoyed, it should be viewed as a thoroughly nostalgic effort; as soon as creative questions are addressed, arguably the film could not exist without the back catalogue of its producer, the film quickly loses its appeal. Forgoing close scrunity, Super 8 is an enjoyable film, and a fairly worthy addition to this year’s summer efforts.

3/5

Focus on Film - Favourite Romantic Film

2011-08-12T19:23:00.000+01:00

Unashamedly inspired by The Times’ current article in which, in the light of the soon-to-be released One Day, writers choose their favourite romantic film, I felt it apt to do likewise.

As easily seduced and swayed by grandiose declarations of love or tormented, tragic relations (Wuthering Heights remains, since the age of 12, my favourite novel), The Painted Veil (2006) is, for me, my favourite romantic film, largely through its lack of epic, sweeping statements.

Set against the backdrop of an outbreak of cholera, the adulterous Kitty Fane (Naomi Watts) is compelled to travel with her bacteriologist husband Walter Fane (Edward Norton), after her illicit lover will not divorce his wife. The spoilt Kitty, neglecting to make any real attempt to get to know her husband, finds him dull and unexciting, admitting to Walter that she has never loved him and his knowledge of this means he is as much to blame for their unhappy state of affairs as she is.

Where the film really excels is in its gentle depiction of a pair, already familiar with one another, finally trying to understand one another: Kitty discovers a side of Walter hitherto unseen.

What makes this film so wonderfully affecting is the perfect subtlety of the cast and the unassuming nature of the narrative: Norton and Watts are both excellent as the Fanes, slowly rediscovering each other – far more heartbreaking than any empty over-the-top declarations.

Reflections on the trailer for I Don't Know How She Does It

2011-08-12T19:18:00.000+01:00

For many, Sarah Jessica Parker’s role as Carrie in Sex and the City unveiled a new era of feminism, allowing women to both enjoy sex and reclaim their sexuality. For others, myself included, Sex and the City was simply symptomatic of a faux-feminism, in which these women, despite their assertions, were ultimately entirely conventional – desiring nothing more than a man to settle down with.

It is with interest then that I learned of Sarah Jessica Parker’s role in the romantic-comedy I Don’t Know How She Does It, depicting a high-powered career woman who struggles to balance her work with her role as a wife and a mother. Parker’s casting is notable for the very fact that it could almost be a continuation of her most famous incarnation.

Being no lover of rom-coms, I Don’t Know How She Does It strikes me as potentially being more irksome than most. The trailer shows the difficulty Parker’s character has in performing each role to the best of her ability, crying when she realises she has missed her son’s first haircut through being at work.

The trailer at least would appear to show that this balancing act between career and motherhood proves to be detrimental. Which then will the film’s narrative choose to siphon off in order for Parker to truly shine at one particular vocation? The cynic in me would suggest it’ll be her work life that will suffer, whilst in turn she excels as a mother.

Reflections on the trailer for We Need to Talk About Kevin

2011-08-12T19:16:00.001+01:00

Lynne Ramsay’s latest directorial effort tackles Lionel Shriver’s devastating epistolary 2003 novel. Shriver’s narrative details the after effects of a terrible crime and how the perpetrator’s parents subsequently deal with and work through these events.

Shriver’s novel, whilst undoubtedly melodramatic in places, was nevertheless a horrific, engaging read. It is with excitement then that I viewed the trailer for Ramsey’s film. Tilda Swinton appears to be perfectly cast as Eva, Kevin’s mother, who is forced to question her own maternal nature in her lack of connection with her son. The stark, sparse directorial approach, in its chosen sombre palette, seems to wonderfully capture the very bleak nature of the novel. Ezra Miller looks suitably disengaged and disconnected as the eponymous Kevin: Ramsey resists the urge lesser directors may have indulged in, downplaying Kevin’s psychotic side – despite the clear threat he poses, he remains unassuming.

Reflections on the trailer for Like Crazy

2011-08-03T12:11:00.002+01:00

Winner of the Grand Jury Prize at the Sundance Film Festival, Like Crazy stars Felicity Jones and Anton Yelchin as two students, one British, one American, forced into a long distance relationship.

The trailer looks promising: Jones especially is a fine actor, and with Jennifer Lawrence heading up the supporting cast, the acting itself is surely not likely to disappoint. The trailer manages to capture both the pain and the difficulty of being involved in a relationship in which long periods of time are spent apart.

Films seen in July 2011

2011-08-03T12:06:00.002+01:00

Bridesmaids (2011) – Finally proving that women can be just as funny as men, Kristen Wiig is truly brilliant as Annie. Let's hope Bridesmaids paves the way for more female driven comedies. 4/5

Straw Dogs (1971) – Despite Peckinpah's denials, there surely can be little doubt as to the all-too-present misogyny present in the horrific rape scene. Barring this, the film itself is wonderfully shot, truly tense; Hoffman and George are excellent. 4/5

Pride and Prejudice (2005) - Joe Wright breathes new life into Austen, making her work accessible for a younger audience. Keira Knightley's best work to date has been under the direction of Wright. 4/5

Million Dollar Baby (2004) - Finely acted, and emotionally heartfelt, but strangely still lacking. Coming to the conclusion that I am simply not a fan of Eastwood's often glossy style of direction; he is undoubtedly skilled, just not for me. 3/5

Finding Nemo (2003) - Ellen DeGeneres 's Dory brings the humour, the father son and relationship bring the emotional gravitas. Truly brilliant. 5/5

The Adjustment Bureau (2011) – Certainly flawed, The Adjustment Bureau’s strength lies in its wonderfully realised central relationship. 3/5

The Tree of Life (2011) - Another flawless film from the wonderful Terrence Malick. Malick's philosophical vision is both unique and hugely refreshing. A film unlike any other. 5/5

Harry Potter and The Deathly Hallows: Part 2 (2011) - Fans of the series will find themselves sated in this final instalment. A worthy addition to the series. 4/5

Bad Education (2004) – Immersive and wonderfully depicted, Gael Garcia Bernal excels in his multi-layered, complex role.4/5

Beginners (2011) – Undoubtedly entertaining, Beginners suffers from its tendency towards whimsy, ultimately losing any grip it had upon the narrative. 3/5

Horrible Bosses (2011) – Bawdy and trashy, Horrible Bosses may not be memorable, but it certainly amuses for its duration. 3/5

The Lovely Bones (2009) – Attempting to balance scenes of trauma with a childlike depiction of heaven, The Lovely Bones fails to ever really engage its audience. 2/5

Role Models (2008) – Fine performances ensure Role Models comedic credentials. Truly enjoyable. 3/5

Reflections on the trailer for Straw Dogs

2011-07-31T15:11:00.000+01:00

Sam Peckinpah’s 1971 film Straw Dogs remains controversial since its release.

Whilst undoubtedly a fine film, bolstered by exceptional performances courtesy of Dustin Hoffman and Susan George, its central misogyny, particularly in the rape of Susan George’s Amy, is certainly objectionable.

Despite Peckinpah’s defenders, there is, for me, far too great an element of ambiguity during the initial rape of Amy to ever truly insist that Peckinpah’s film really condemns the actions of Charlie. Amy’s terror is not consistent – whilst it is certainly reinstated with the second rapist – her requests for Charlie to hold her after he has committed the act are both repugnant and reprehensible.

It is with interest then that I view the trailer for the remake of this film, set to be released later this year. Starring Kate Bosworth, James Marsden and Alexander Skarsgård, the remake appears to be a simple update to the original, featuring the same set-pieces and in some instances the very same lines used in the 1971 film. What most interests me about this film, and will surely determine whether this remake is necessary, is the manner chosen in which to portray the rape scene. Will the ambiguity remain or will this remake rightfully revile Charlie’s actions?

Reflections on the trailer for New Year's Eve

2011-07-27T15:10:00.000+01:00

So after last year’s Valentine’s Day director Gary Marshall presumably searched for another supposedly magical public holiday/event that he could latch romantic dealings upon. Thus we have New Year’s Eve, originally intended as a sequel to the aforementioned Valentine’s Day, but now conceived as a stand-alone film, with previous cast members playing new characters.

Despite the truly stellar cast, including Robert De Niro, Michelle Pfeiffer, Halle Berry, and Hilary Swank amongst others, New Year’s Eve merely fills me with trepidation rather than excitement. Thoroughly weary of idealistic, sexist, stereotypical romantic comedies, suffice to say I am not looking forward to this one.

Reflections on the trailer for Martha Marcy May Marlene

2011-07-27T15:07:00.001+01:00

Starring Elizabeth Olsen, Martha Marcy May Marlene details a young girl’s flight from a cult, and her subsequent difficulty with life away from it. Olsen, from the trailer at least, appears to be more than capable in the role.

The trailer itself looks wonderfully atmospheric, and if I wasn’t sold enough already, the brilliant John Hawkes (magnetic in Winter’s Bone) features, in what appears to be a role as the leader of this unsavoury cult. Hawkes is a truly excellent actor, utterly compelling in his roles – I would see this film for him alone.

Horrible Bosses - Review

2011-07-27T15:02:00.003+01:00

Following on from the Judd Apatow, bawdy, gross-out humour style that has rapidly become so synonymous with adult comedies, Horrible Bosses, much like its title, is not hugely original or particularly imaginative. Despite this, Horrible Bosses is both largely entertaining and often genuinely funny.

Nick (Jason Bateman), Dale (Charlie Day) and Kurt (Jason Sudeikis) are all battling with the various problems their bosses present: a bullying corporate psycho (Kevin Spacey), a high-sexualised dentist (Jennifer Aniston) and a cocaine addicted, immoral industrial company owner (Colin Farrell), who has no qualms with illegally ridding industrial waste, regardless of its impact on the environment or people.

Coming to the conclusion that the best way out of their increasingly unbearable situations is to jointly pay for their bosses to be murdered, the three hire the supposedly hilariously named Motherfucker Jones (Jamie Foxx) as a murder consultant.

High-concept aside, which clearly never really rings true or realistic, it is the interactions between the central three protagonists that elevate this film above the usual sub-standard fare. Bateman, Day and Sudeikis appear to be having real fun, not only with the script, but with one another: this sense of enjoyment wonderfully imbues their performance. Aniston, Spacey and Farrell too seem to relish the opportunity to play such hyperbolic characters, ensuring their characters are entirely ridiculous in their execution.

Horrible Bosses certainly has its faults: the high-concept narrative threatens to rapidly crumble as the film progresses. The film’s attitude towards women is especially questionable: Aniston plays an overly-sexualised figure, as a female she is portrayed as being a crazed nymphomaniac.

This over-sexed figure is generally present in such films and when portrayed by a male, is usually a source of comedy – think of Owen Wilson and Jason Sudeikis objectifying every woman they come into contact with in the sub-standard Hall Pass. In Horrible Bosses women are either a source of male sexual pleasure – Kurt (Sudeikis) states at one point that he has to ‘see that woman about her vagina’ – or, in the form of Aniston’s sexual dentist, a source of fear.

Criticisms aside, Horrible Bosses is fairly enjoyable for its duration, certainly not likely to be remembered for longer than its cinema run, but better than the usual fare.

3/5

Beginners - Review

2011-07-26T15:33:00.001+01:00

Directed by Mike Mills, his second feature, Beginners, despite its obvious heartfelt intent, threatens with its ever-present quirkiness, to lose any grip its hold upon the narrative.

Oliver (Ewan McGregor), in mourning after the death of his father from cancer, recounts his father’s final few months, in which his father confessions to Oliver that during his long marriage, he was ever-aware of his own homosexuality. Now that his wife, Oliver’s mother, has passed away, Hal’s (Christopher Plummer) passion for life is renewed, fully dedicating himself to gay-pride and gay rights, as well as dating; Hal is determined to enjoy himself, no longer hiding his true-self away.

As Oliver mourns he meets Anna (Melanie Laurent), whose relationship with her father is far more complicated. Both Oliver and Anna embark upon a relationship together, hindered by each other’s difficulty to both commit and their own emotional repression.

The self-consciously quirky style of the film largely works through the earnest narrative, thus the moments in which we see Arthur the Jack Russell voice his thoughts through subtitles onscreen generally endears, and yet it is through this very presentation that the characters never truly convince or engage.

It is the portrayal of Hal and Oliver’s father-son relationship and the manner in which Hal’s sexuality is presented that provides the film’s most successfully realised moments. Refreshingly and rather wonderfully, Hal’s admission is not the catalyst for the film’s narrative: this is not a film in which sexuality is presented as the central conceit. Certainly Hal’s sexuality is an important narrative moment, as well as an important factor of his character’s development in that it renews his desire of life, but for Oliver Hal’s sexuality is not an issue. In one scene, Hal rings Oliver after visiting a club, excitedly detailing his experience – Oliver, rather than admonishing his father, simply asks if he has met anyone.

Arguably, the film fails to treat its subject matter sufficiently: little is explained of Oliver’s mother, who through flashbacks we witness as feeling unfulfilled and disillusioned. Whilst Hal is certainly happy now exploring his sexuality, Oliver does little to question his mother’s happiness. Anna’s father too, is clearly unhappy and distressed, yet we are encouraged to think poorly of him sharing his unhappiness with his daughter.

Unfortunately the loose narrative structure crumbles under close scrutiny: Anna and Oliver’s fey-relationship certainly has its charms, but fails to truly encourage the viewer to care. Anna and Oliver’s relationship never fully develops: Anna’s problems with her father, or indeed, her background are never fully addressed, leaving her character largely one-dimensional. The cast are all fine, doing their best with the limitations of their characters’ development.

Beginners fails to leave any real impression, its style is far too laconic and passive to ever really engage.

3/5

Reflections on the trailer for Bel Ami

2011-07-24T10:44:00.001+01:00

Robert Pattinson, through the huge success enjoyed by the Twilight films, has surely for some become indelibly linked with his incarnation as Edward Cullen. Pattinson appears to be doing his best to shed his teen- friendly image, taking on a role in David Cronenberg’s next film and starring in the upcoming Bel Ami, based upon the 1885 Guy de Maupassant novel.

Maupassant’s novel details the social rise of Georges Duroy as he seduces his way through the upper echelons of society. Pattinson plays the enigmatic Duroy, with Uma Thurman, Christina Ricci and Kristen Scott Thomas starring as his numerous love interests.

Ever a sucker for a good period drama, especially when centred upon an amoral anti-hero, Bel Ami genuinely excites me. Pattinson, under the right director and away from the oppressive nature of the Twilight films could yet still prove himself as a fine actor. Certainly his performance in Water for Elephants showed him more than capable of holding his own against his more experienced co-stars.

As a lover of the perfectly crafted, similarly amoral Dangerous Liaisons, I am hopeful that Bel Ami will prove itself to be as wonderfully realised and ruthless in its scenes of amoral depravity.

Reflections on the trailer for The Dark Knight Rises

2011-07-23T14:41:00.000+01:00

For some, myself included, the main draw for the latest Harry Potter film was the opportunity to see the teaser trailer for The Dark Knight Rises. Previous teaser trailers for Christopher Nolan films have been hugely successful in building a real sense of anticipation, whilst maintaining plot secrecy. Perhaps then, my expectations for The Dark Knight Rises teaser were altogether too high, as this first glimpse into the final film in the Nolan trilogy simply left me feeling deflated.

Much of the trailer was comprised of footage from the previous two films, feeling rather lazy and hastily put together. What little footage we did see from the latest film was, in true Nolan style, vague, revealing little of what we can expect. Whilst I have no doubt that The Dark Knight Rises will be another fine Nolan film, I only wish the first teaser trailer had been put together better.

Reflections on the trailer for In Time

2011-07-23T14:37:00.001+01:00

Directed and written by Andrew Niccol, writer of The Truman Show and director of Lord of War, In Time depicts a world in which humans stop aging at 25. After reaching 25, mankind only has one more year to live, unless they can earn more time – exchanging and earning time as currency.

Justin Timberlake and Amanda Seyfried star as Will Salas and Sylvia Weis: Will, after a chance encounter with a wealthy man who possess over a century of time, finds time bestowed upon him. Through this, Will finds himself accused of the man’s murder, and in order to avoid capture, takes Sylvia as a hostage.

With a quality cast, including Mad Men’s Vincent Kartheiser and Cillian Murphy, In Time looks exciting and engaging. Timberlake was wonderful in The Social Network and Seyfried is consistently on form. I am genuinely looking forward to this film’s release, I can only hope it delivers on its promises.

Harry Potter and the Deathly Hallows: Part 2 - Review

2011-07-20T10:48:00.003+01:00

After ten years since the first Harry Potter film was released, the Harry Potter series culminates in David Yates’ Harry Potter and the Deathly Hallows: Part 2.

The first Deathly Hallows film, whilst well-paced, felt, through its obvious split into two films, oddly stagnant. With a clear end to the series in sight, The Deathly Hallows: Part 1 felt too much of a precursor to the main event. Now with the so-called main event released, Yates’ Part 2 is a far better film than its predecessor. Well-paced, with some brilliant action sequences, Part 2 is an exciting conclusion to the series.

Fans of the books will already be aware of the plot, as such there is little reason to recap or summarise here, we can safely assume that very few viewers will be watching this film with little knowledge of the end result. It is thus even more impressive then that Yates manages to create both narrative drive and tension out of a storyline so many viewers will be familiar with.

The acting of the three main protagonists, admittedly never brilliant, especially when sharing the screen with some of the best British actors currently working, is here more than passable, thanks in part to the rather excellent action scenes.

It is in the scenes in which the magical community, including familiar characters, display both their magical power and ability that the film most excites. Seeing Dame Maggie Smith’s Professor McGonagall do battle with Death Eaters, enacting highly impressive spells and exhibiting her magical prowess, provides some of the film’s best moments.

Fans of the Harry Potter franchise will not be disappointed: a commendable end to the series.

4/5

The Tree of Life - Review

2011-07-20T10:44:00.003+01:00

Terrence Malick is, arguably, quite unlike any other director currently working. His disposition towards a style which essentially depicts poetical lyricism is both bold and radical, bringing him both admirers and detractors in equal measure. Malick feels no need to depict moments of high drama, focusing instead upon philosophical meditations about life, death and love.

His first film since 2005’s The New World, The Tree of Life may perhaps be his most inaccessible film, forgoing a linear narrative and inserting an astonishing sequence depicting the birth of the universe, complete with a glimpse into evolution – including, ambitiously, dinosaurs.

Certainly The Tree of Life is perhaps his most overtly philosophical work: Malick encourages the viewer to simply listen to the voice-over narration, his narrations questioning the manner and nature of life itself. The Tree of Life is simultaneously asking its viewer to be both passive, indulging in the glorious cinematography, whilst also encouraging the viewer to contemplate the issues with which the film focuses upon.

Malick’s narration informs us that there are two paths in life, the way of nature and the way of grace. For Jack (played by Hunter McCraken as a child, later by Sean Penn) each is represented within his parents: his stern father representing nature, his child-like mother representing grace. Jack struggles underneath the two opposing natures present within his parents, ultimately struggling with the nature present within himself. The adult Jack, currently existing within a world-weary state, is apparently spurred by the anniversary of his brother’s death to hearken back to a gloriously realised childhood.

Brad Pitt plays Mr O’Brien, a father who, frustrated in his own aspirations, rules his house in an almost abusive manner, and yet is also completely consumed with love and devotion towards his three sons. Mr O’Brien, through the collapse of his own hopes, ruing his failure to become a successful musician, is determined to instil in his sons, particularly his oldest son Jack, an ability to fight for what he wants. These attempts, rather than encouraging his sons, merely make their father a figure of fear. His changeable nature, swaying between affectation and discipline, make their father unpredictable and thus more difficult to deal with.

In a wonderful scene, the three sons, learning their father is away on a trip, gleefully indulge in all the behaviour they had previously been reprimanded for. Mrs O’Brien (Jessica Chastain) ever seeks to do good, indulging her sons, joining in with their feverish games. She acknowledges the affect her husband has upon their sons, comforting them, yet infrequently correcting him. The boys in turn adore their mother and Malick, as if through the perception of the three young boys, represents her as being some manner of otherworldly being.

Certainly Malick is not for everyone: often accused of self-indulgence, his films are reflective, rather than containing any real action set-pieces. His depiction of the grief felt by a mother and father over the loss of a much-loved son is deeply affecting.

The film is flawlessly cast: Jessica Chastain perfectly embodies Mrs O’Brien’s angelic nature, whilst Brad Pitt’s authoritarian father is an ever-looming presence within the young sons’ lives. Malick has shown before his adeptness at working with young actors, the three sons here are natural and realistic, we believe in their relationship with one another, wholly displaying the way in which young children, particularly siblings interact with one another.

Malick certainly has his critics, but for me, his poetical reflections are more exciting, more immersive and more beautiful than anything anyone else has to offer. A Malick film is an experience quite unlike any other.

5/5

Reflections on the trailer for Hugo

2011-07-20T10:41:00.000+01:00

For a director best known for his violent, gangster based narratives, Scorsese would understandably not be the first director you would associate with directing a child’s film.

Adapted from Brian Selznick’s novel The Invention of Hugo Cabret, Scorsese’s Hugo, set in 1930s Paris, depicts the young Hugo Cabret who, after the death of his father, lives in secret within the walls of a train station.

The trailer depicts a wonderfully realised, immersive world, and Scorsese’s direction inspires confidence in the final product. Despite this, the trailer for Hugo left me feeling disappointed. Not knowing what to expect I had, with the knowledge of Scorsese’s directorial involvement, high-expectations for the trailer. To my dissatisfaction, Scorsese’s film looks rather generic, offering little that hasn’t been seen before.

With a cast that includes Jude Law, Sacha Baron Cohen, Christopher Lee, Michael Stuhlbarg (amazing in A Serious Man), and the excellent Chloë Moretz, Hugo looks set to be, if nothing else, one of the finest acted child’s films around. As ever, judging the film on the trailer alone reveals little about the final product, so any final judgements will be reserved until the film itself is released.

Reflections on the trailer for The Iron Lady

2011-07-12T15:32:00.002+01:00

Meryl Streep’s acting ability is certainly never in doubt and I am sure her portrayal of Margaret Thatcher will be both flawless and accurate. It is not Streep’s casting that interests me about director Phyllida Lloyd’s The Iron Lady but rather the political approach the film will undertake.

It feels like a cheap, underhanded direction, if reports are true, to focus on Thatcher’s groundbreaking work as the first female Prime Minister, triumphing over the male-dominated environment. Certainly this fact is never in doubt, but the film itself should surely focus upon all aspects of her government, including its affects upon Britain at the time, encompassing both the positive and the negative.

Top Five Screen Couples

2011-07-12T11:00:00.000+01:00

This is not a list of great romantic love stories featured in implausible, idealistic romantic comedies, but rather details couples whose interactions with one another truly demonstrate a realistic, believable affinity for one another.

A Single Man (2009) - George and Jim

It is the loss of this relationship that forms the basis for the narrative in A Single Man, affording the central romance between George (Colin Firth) and Jim (Matthew Goode) little screen time. Despite the brief screen time detailing this relationship, George and Jim’s short scenes together, portraying their blissful domesticity, is genuinely believable and truly touching. As much of the film deals with the after effects of Jim’s death, depicting the immense grief felt by George, it is vital that their relationship is one the viewer can invest in – Firth and Goode’s performances ensure this, Firth especially has never been better, his grief is palpable.

The Adjustment Bureau (2011) - Elise and David

Admittedly The Adjustment Bureau, whilst enjoyable, was only ever an average film at best, but was made infinitely better by its central romance. Elise (Emily Blunt) and David (Matt Damon) positively glow when in each other’s company. Their gentle teasing of one another is wonderfully engaging and enjoyable. Again this is a couple whose romance propels the narrative, it is vital that the viewer engages with Elise and David as a couple for the film to succeed – Blunt and Damon’s ability to play off one another enables this.

Eternal Sunshine of the Spotless Mind (2004) - Joel and Clementine

Jim Carrey and Kate Winslet’s playful performance against type is all the more enjoyable when coupled with our awareness of Carrey’s previous comedic incarnations. It is in the scenes of Joel’s childhood as he attempts to hide Clementine in his memories that their relationship is most beautifully played out. Thoroughly charming and completely heartbreaking.

Lost in Translation (2003) - Bob and Charlotte

A relationship based on intellectual engagement rather than physical appeal, Charlotte (Scarlett Johansson) and Bob’s (Bill Murray) genuine affinity and empathy for one another delightfully develops. The casual viewer may rightly complain that little appears to take place within the film’s narrative, but for me, Lost in Translation is a perfect exercise in subtlety. We may not entirely understand Charlotte and Bob’s relationship, indeed the viewer is not privy to Bob’s parting words, but we believe in their understanding of one another.

Away We Go (2009) - Verona and Burt

Verona (Maya Rudolph) and Burt (John Krasinski) are a couple who are entirely in-tune with one another, their relationship based upon familiarity created by the length of time they have known one another. This familiarity is, refreshingly, portrayed in a positive manner – they are not bored with one another, or desiring the fresh thrill of a new relationship. They are simply a couple in love, who understand one another and truly get along.

Bridesmaids - Review

2011-07-05T11:49:00.002+01:00

Hailed as the advent of a female-led comedy, Bridesmaids arguably had a certain degree of expectation surrounding it upon its release. Some heralded its release, finding its attempts at bawdy, gross-out humour finally levelling the comedic attempts of the sexes, proving women can successfully talk as rudely and as dirtily as any male-driven comedy. Others pointed towards its inherently female setting, deriding its supposed revolutionary attempts as ultimately conventional.

Certainly the film’s wedding setting is comfortably set within a typically female narrative, but arguably, not only is a typically female setting necessary in a film dealing with such a number of women, but is also far braver for not attempting to distance itself. It surely would have been far easier for the writers to have placed the narrative in a more male dominated environment, thereby escaping accusations of conventionality and the confines of genre.

Kristen Wiig co-writes as well as stars as Annie, a thirty-something woman who is struggling with life in general. Facing financial ruin after the failure of her own bakery business, she lives with her odd roommate (Matt Lucas) and his equally odd sister. Her romantic entanglements involve Ted (John Hamm), a self-involved man who freely describes Annie as his ‘fuck-buddy’, and as Annie’s childhood friend Lillian (Maya Rudolph) informs her, makes her feel terrible about herself each time she has been with him.

It is her friendship with Lillian that provides the film’s central conceit: Lillian, upon her engagement asks Annie to be her maid-of-honour, a role which requires the financially despondent Annie to plan the many events required in the lead up to Lillian’s wedding.

Annie, arriving at Lillian’s rather ostentatious engagement party, rapidly feels out of her depth, a feeling swiftly increased upon meeting Lillian’s latest friend Helen (Rose Byrne). Helen is, as Annie can’t help but inform her, ‘so pretty’, and the claim to the title of Lillian’s best friend quickly turns into a competition between the pair.

Bridesmaids is not a rom-com, the realistic relationships between the women highlight this. In a rom-com, or a more typical female based film, Annie may have been depicted as becoming increasingly jealous of Lillian’s happiness. As Lillian’s life begins to come together, Annie’s life seems to rapidly unravel, yet Annie is never jealous of her childhood friend, she is truly happy for her. She struggles with the rivalry in place between herself and Helen, each immediately recognising the other as a threat. Annie, unlike the magazine editors of more traditional fare, refreshingly has financial troubles, difficulty in realising her dream and finds it difficult to pick herself back up when everything in her life seems to be going wrong.

Simultaneously, Annie meets Nathan Rhodes (Chris O’Dowd), a police officer, who as Annie recognises is a kind, decent man, in stark contrast to her current man of choice Ted. Again, it is in the treatment of the male love interest that Bridesmaids differs from the standard. Nathan is not required to help or fix Annie, she is perfectly capable of sorting her life out herself.

Kristen Wiig is both entirely believable and wonderfully appealing, and it is the interactions between the women that provide the film’s best moments. The supporting cast is equally wonderful, with special mention going to the deserving Melissa McCarthy as Megan, whose frequent obscene comments genuinely amuse.

Bridesmaids may not be as revolutionary as some may have hoped, buts it depiction of genuine and realistic interactions between women, as well as showcasing the fact that women can be just as funny as men, certainly paves the way for more female-driven comedies.

4/5

Reflections on the trailer for Tinker, Tailor, Soldier, Spy

2011-07-01T14:42:00.000+01:00

With a stellar cast and Let the Right One In’s director Tomas Alfredson at the helm, the adaptation of the John Le Carré novel, Tinker, Tailor, Soldier, Spy truly excites.

Arguably, Alfredson’s film certainly possesses one of the most exciting casts of recent years, including: Gary Oldman, Colin Firth, Tom Hardy, Benedict Cumberbatch, Toby Jones and John Hurt amongst others. All fine actors, either at the top of the game, or swiftly emerging as impressive talents.

Alfredson has shown himself to be more than adept at creating sparse tension, and I have real confidence that Alfredson is more than capable of directing a big budget film. With such a strong cast, I have no doubts as to the ability of those involved; my only concern is with such expectations can the film really live up to its promise?

Films seen in June 2011

2011-07-01T12:14:00.002+01:00

X- Men: First Class (2011) - Enjoyable, certainly the best X-Men film so far, yet it is still confined within its genre. Not as revolutionary as it should be. 3/5

The Hangover Part II (2011) - A lazy retread of the successful original, with little imagination or innovation. Few laughs, a disappointment. 2/5

Batman Begins (2005) -Christopher Nolan's take on the Batman series treats its subject matter with far more gravitas than Joel Shumacher's previous incarnations. A truly glorious reboot. 4/5

Senna (2010) - A touching tribute to the brilliant Ayrton Senna, Using contemporary footage rather than retrospective interviews ensures that this documentary retains much drama. 4/5

Mary and Max (2009) - A truly touching narrative, beautiful animation. A film that will stay with you, largely through a genuinely affecting subject matter. 4/5

Catfish (2010) - Well-crafted and immersive. The allure is lost slightly due to the claims by some that the events may have been faked. Regardless, still enjoyable.4/5

True Grit (2010) - Wonderful cinematography, Hailee Steinfield is excellent as the determined Mattie Ross, stopping at nothing to ensure justice is carried out. Further highlights the true skill the Coen Brothers possess. 5/5

Bad Teacher (2011) - Sticking firmly to convention, Bad Teacher is uninspired. A few amusing moments, but not enough to sustain the entire film. 2/5

Bringing Up Baby (1938) - Wonderful performances and quick-fire dialogue make for a timeless classic. A true delight. 5/5

Don't Look Now (1973) - Roeg imbues each scene with a wonderful sense of growing tension. Truly chilling. 5/5

Ferris Bueller's Day Off (1986) - A joyful film, detailing Ferris Bueller, who on a beautiful day, simply decides it's too nice a day to go to school. John Hughes has such a gift for connecting with youth. 5/5

Reflections on the trailer for Mission: Impossible - Ghost Protocol

2011-06-29T12:44:00.000+01:00

After the rather lukewarm reception to Knight and Day, Tom Cruise returns to the franchise that has best served him. Here then, with a trailer than produces rather too much exposition and surely too much insight into the narrative of the film, Tom Cruise is back playing Ethan Hunt in his fourth foray into the Mission: Impossible series, titled this time, Mission: Impossible - Ghost Protocol.

Clunky title aside, is there truly anything else this franchise has to offer? Certainly the third effort was enjoyable, but the trailer doesn’t entirely convince. Mission: Impossible is often, for my tastes at least, an all-together too glossy affair, showcasing Cruise’s supposed appeal.

Notably Brad Bird, best known for his work with Pixar, is directing, certainly a marked change for The Incredibles director.

For me, the most exciting actor cast here is surely the excellent Jeremy Renner, not being a fan of Cruise. Renner has more than proved himself in The Hurt Locker and The Town, and it is surely Renner’s role that, if anything, will make this film worth watching. As ever, only viewing the film in its entirety will enable it to prove its worth.

Focus on Film - Bright Star

2011-06-26T18:02:00.002+01:00

The release of Jane’s Campion’s beautifully passive Bright Star was wonderfully apt: released at a time when the study for my English Degree began to focus upon the romantic poets, notably John Keats in particular.

Studying Keats enabled and imbued my viewing of this perfectly directed film. Whilst Campion’s film is entirely accessible, there can be little doubt that a greater understanding of the particulars of romanticism enriched both my viewing and understanding of Campion’s Keats narrative.

Campion’s direction ensures that, despite perhaps the difficulty of the poetry, Keats’ narrative feels both wonderfully immediate, urgent and beautifully evocative. Ben Whishaw’s Keats is, importantly, a living breathing, relatable creation.

Watch for the flawless cast, the stunning cinematography and for an all-together refreshing approach to portraying the creative act of writing. Campion feels no need to treat Keats with reverence, his poetry speaks for itself.

Reflections on the trailer for A Dangerous Method

2011-06-22T18:27:00.000+01:00

Marking the third collaboration between Viggo Mortensen and David Cronenberg, A Dangerous Method details the relationship between Sigmund Freud (Mortensen) and Carl Jung (Michael Fassbender), depicting the difficulties this friendship undergoes when Jung treats Sabrina Spielrein (Keira Knightley), a woman struggling with a mental illness.

Tackling a fascinating subject, Cronenberg’s film fills me with much anticipation: Mortensen has been especially wonderful under the direction of Cronenberg, and Fassbender appears to be the perfect choice for Jung, his past performances are hugely impressive.

It is Knightley’s casting that concerns me, never having handled a truly complex role, can she depict such a performance? Whilst more than adept in more light-hearted fare, such as her Oscar nominated performance in Joe Wright’s Pride and Prejudice, the complicated nature of Sabrina Spielrein may, unfortunately, be beyond her capabilities. I can only hope that Knightley can rise to the challenge, A Dangerous Method could be a truly great film.

Bad Teacher - Review

2011-06-21T12:22:00.001+01:00

Bad Teacher, despite its bawdry aspirations and frequent use of explicit language, simply isn’t as shocking as it hopes to be. Compared to similar fare, the excellent Election for example, Bad Teacher is entirely tame and dull in its execution.

Teacher Elizabeth Halsey (Cameron Diaz) cares little for her chosen profession or any manner of career advancement. Unashamedly admitting that teaching’s main attraction was the extended summer breaks, Elizabeth is simply waiting for a wealthy man to take care of her.

When her fiancé realises Elizabeth’s only interest in him is monetary gain, Elizabeth is quickly rendered single. Forced to return to the profession she is so disinterested in Elizabeth, keen to find another wealthy man to look after her, determines that the affluent new substitute teacher Scott Delacorte (Justin Timberlake) is suitable for the task.

Lack of real laughs aside, it is Bad Teacher’s rather questionable concept that proves itself most concerning. Elizabeth, an attractive, intelligent woman not only relies on men to look after her, but is perfectly willing to undergo breast enlargement surgery in order to make herself more attractive to Scott, who she believes prefers well-endowed women.

This formulaic approach is ultimately thoroughly demeaning: much has been made of the lack of female-driven comedies and Bad Teacher certainly lacks any sense of progress. Elizabeth, despite her clear aptitude, has no desire to further or better herself without the aid of a man. She spends much of the film trading on her all-too-apparent beauty, dressing provocatively to render men powerless. Elizabeth is not empowered, despite her belief in her ability to do whatever she wants; she remains in thrall to the men around her, seeing these men as her only opportunity to succeed in life.

Bad Teacher is simply uninspired and distinctly underwhelming. Diaz is certainly believable as the crude Elizabeth, providing a few laughs and there certainly are some amusing set-pieces, just not enough memorable moments. For all its raunch, Bad Teacher is distinctly conventional, failing to break down any gender boundaries.

2/5

Five Favourite Female Film Characters

2011-06-19T20:21:00.000+01:00

Belle (Beauty and the Beast)

Disney may not be the immediate choice for a forward-thinking female character, and Belle is by no means perfect, but in her pursuit for intellectual stimulation, harbouring a love of literature Belle is perhaps one of the more feminist Disney characters.

Sarah Connors (The Terminator, Terminator 2: Judgement Day)

Familiarising herself with weaponry and fighting skills, Sarah Connors’ reinvention from the first Terminator film is impressive. Sarah is the ultimate matriarchal character, determined to protect her son at all costs.

Charlotte (Lost in Translation)

Educated and intelligent, Charlotte struggles with both her identity and her place in the world. Self-professing that she is ‘mean’, Charlotte is unashamedly judgemental, but never arrogant.

Ree Dolly (Winter’s Bone)

Ree, despite being faced with some fairly horrific challenges, is ever resolute, focussing on her self-imposed duties towards her siblings and her ill mother.

Ada McGrath (The Piano)

The mute Ada expresses herself through her musical talent, discovering her sexuality and stating her independence. Ada, through her narrative, is entirely compelling.

Reflections on the trailer for Horrible Bosses

2011-06-15T23:05:00.002+01:00

Jennifer Aniston appears determined to disregard her good-girl image if her appearance in Horrible Bosses is anything to go by. Aniston plays a manipulative ‘man-eater’, whose aggressive sexuality causes her employee to believe that her death would be of benefit.

Colin Farrell and Kevin Spacey play two similarly-heinous bosses whose unreasonable behaviour further prompts their respective employees to feel that their demise would be entirely advantageous.

Jason Bateman, Charlie Day and Jason Sudeikis play the three aggrieved employees, all of whom decide through the behaviour of their aforementioned bosses, that hiring a hit-man is entirely logical.

High-concept aside, I’m undecided as to the ability this film may have to entertain; both Bateman and Sudeikis have starred in two truly terrible recent films, The Switch and the far-more questionable Hall Pass respectively.

Clearly seeking to provide both slap-stick and bawdy laughs, Horrible Bosses is clearly hoping to appeal to the audiences who have enjoyed The Hangover and Judd Apatow-produced films. What helped those films succeed, aside from the well-judged laughs, were the central relationships: these were characters that cared about each other and in turn we too could care about their fate.

The three central protagonists in Horrible Bosses need to ensure that they appeal enough for the audience to empathise about the film’s outcome. Whether Horrible Bosses can succeed remains to be seen; at this point I am not overly hopeful.

Senna - Review

2011-06-15T10:06:00.001+01:00

Composing a narrative from contemporary interviews, director Asif Kapadia’s documentary on the hugely popular and successful Formula One driver Ayrton Senna dispels with the use of retrospective interviews, creating a truly engaging, dramatic narrative, depicting the charismatic, driven Senna from his debut season in Formula One to his untimely tragic death in 1994.

Kapadia’s documentary, despite its rather specific subject matter, is consistently inclusive; such is the allure of Ayrton Senna that surely no viewer, despite any preconceived opinions upon the appeal of Formula One, could fail to connect with the central conceit: a man inescapably pulled towards competing.

Such is the wealth of footage available that there is no need for present-day interjection. The use of exclusively contemporary footage, both track footage and contemporary interviews, ensures that the drama which unfolds feels truly immediate, with a real sense of urgency.

Senna’s rivalry with French driver Alain Prost forms much of the narrative impetus, imbuing each race depicted into a fierce battle of skill and prowess. The political difficulties Senna faced with the officials of Formula One too take up much of the narrative: Senna is shown to be a truthful, earnest man, utterly devoted to improving his performance.

Some have criticised the perceived reverence the filmmakers have for Senna; this reverence is certainly present, but that it is not to say it is misplaced. Senna, ever proud of his Brazilian roots, inspired a nation, culminating in the mass attendance of his funeral. His charitable works continue to this day through his foundation. Senna, as the documentary footage shows, was a complex man: philanthropic, religious and ever-aware of his own capabilities.

The structure of the documentary makes for truly thrilling viewing, playing as a dramatic piece rather than a simple character study.

4/5

The Hangover Part II - Review

2011-06-12T11:45:00.002+01:00

The Hangover was without a doubt a huge success, finding itself awarded the accolade of being the highest-grossing R rated comedy ever. Ignoring its perhaps questionable depiction of women – actually using the stereotypes of the whore, the angel and the monster – much of the film’s success rested on the relationship between the male protagonists, which whilst certainly bawdy and often obscene, was still at its heart a touching depiction of true friendship.

The writers of The Hangover Part II, clearly deciding to rely on a proven formula, essentially simply relocate the events of the first film to Thailand. Taking the traits of the male characters and enhancing them, unfortunately, ensures that those fairly likeable characters of the original begin to border on cruel, irritating and heartless.

Stu, determined to avoid the debacle of a bachelor party, chooses a ‘bachelor brunch’, rather than indulging in an alcohol-fuelled night of debauchery. Stu, declining to invite Alan, is persuaded to include the hapless, chronically immature, so-called friend on the pleas of his true friends. Two days before his wedding, the group, including his bride’s younger brother Teddy - who Alan has taken an immediate dislike to - toast the couple’s happiness.

Of course, the inevitable happens, and Alan, Phil and Stu wake in a dingy apartment, having no recollection of the night’s events, nor any idea of their location. The events that follow entirely mimic the events of the preceding film, displaying either a laziness, an arrogance or a sheer lack of imagination on the part of the writers - notably, and perhaps tellingly, a set of writers not responsible for the first film.

The first film carefully ensured that despite its moments of obscenity, its humour was never mean-spirited, not malicious. The Hangover Part II is a far crueler affair than its light-hearted original: characters, previously likeable, display moments of real callousness. If the lack of any originality wasn’t enough, the film is poorly paced, and at times, rather dull.

2/5

X-Men: First Class - Review

2011-06-08T16:00:00.001+01:00

The X-Men films, whilst successful, have seemingly made little attempt to truly revolutionise the X-Men narrative. Unlike Christopher Nolan’s Batman films, which have sought to reject and break down comic-book conventions, the X-Men films have instead remained firmly within the confines of the comic-book genre.

Here Matthew Vaughn, after having the foresight to walk away from X-Men: The Last Stand during preproduction, helms the partly Jane Goldman-penned script. Goldman and Vaughn, enjoying success with Stardust and Kick-Ass, are quickly garnering a reputation for well-made, entertaining films.

Here, X-Men: First Class decides to continue the current trend for a reboot of sorts, here depicting the familiar X-Men characters initially as young children, then later as young adults. This trend has surely been cemented most successfully in the aforementioned Christopher Nolan Batman series, in which Nolan strips down the gimmickry of Joel Schumacher’s films, attempting to depict Bruce Wayne existing in a world not-too-far removed from the viewer’s reality.

There is too, currently a new Spiderman film in production, which will depict a young Peter Parker during his years at high-school. This decision for a reboot can often be cynically viewed as a simple attempt to inject a failing franchise with new life, with writers failing to continue the narrative they have already created. Here a reboot was certainly necessary in order to break away from the relatively ill-received X-Men: The Last Stand: Vaughn’s film is certainly successful in burnishing all thoughts of the poorly paced previous film.

In Poland 1944 a young Erik Lensherr is separated from his parents. In his desperation to be reunited with them, Erik, through his mutant powers, is able to bend a heavy metal gate, observed by Dr. Schmidt (Kevin Bacon). Schmidt, determined to force Erik to display his powers, threatens the life of his beloved mother.

Meanwhile, in New York, Charles Xavier (James McAvoy), apprehending a young Raven (Jennifer Lawrence) in his house one night as she seeks to steal food, quickly realises he is not the only mutant in existence. Treating Raven like a sister, Charles goes on to graduate from Oxford University, now an expert in genetics. Moira MacTaggert (Rose Byrne), a CIA operative, eager to uncover Sebastian Shaw’s shady operations, witnesses mutant activity and contacts Charles in the hope that his knowledge will aid her. Shaw, we learn, is simply Schmidt in Americanised form, Erik (Michael Fassbender), in revenge for Schmidt’s treatment, too seeks his location.

Charles and Raven, using Charles’ telepathic powers track down Shaw, intercepting Erik’s suicidal attempts to apprehend Shaw/Schmidt. Charles invites Erik to join them, and the two seek out other mutants, inviting them to join themselves and Raven.

X-Men: First Class is slow to start; the necessary exposition introducing individual characters takes a while to truly engage the viewer. Despite this rather deliberate start, X-Men: First Class quickly reasserts its pace with some entertaining action set-pieces. Lawrence and Fassbender are particularly impressive as the insecure Raven and the tortured Erik. McAvoy, whilst well cast, unfortunately strays too often into arrogance, perhaps indicative of the chosen depiction of Charles, who whilst well-meaning, is here not truly complex enough to develop as a character.

Vaughn’s film, certainly the best X-Men film of the current franchise, makes little attempt to truly break away from its comic-book origins, often feeling too confined within its genre. Despite an admirable effort, X-Men: First Class is not as revolutionary as it had hoped to be.

3/5