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Black Panther (2018)
Black Panther: Fight The Power!
Marvel's latest entry in their ever-expanding cinematic universe follows directly after Captain America: Civil War, with Chadwick Boseman's Prince T'Challa, a.k.a., Black Panther, preparing to take the throne of Wakanda after his father's tragic death.
Written and directed by Ryan Coogler (and Joe Robert Cole), who is on a real hot streak after Fruitvale Station and Creed, Black Panther is the first superhero/comic book movie to feature a black lead since the Blade series (1998, 2002 & 2004), but more than that, this is a distinctively African story with a predominantly black cast. Something that's equally unique for a franchise film and a tentpole movie that's leading into Avengers: Infinity War.
Whether Black Panther will prove to be significant enough to encourage more faith in diverse casts within the industry and audiences at large is yet to be seen, but I've every confidence that this will be a very popular and successful film. And it deserves to be. Black Panther is really terrific.
Importantly, to some degree, Black Panther also works as a stand-alone film, being quite self-contained despite being part of a bigger world. Much like Wakanda, which is almost akin to an African Brigadoon; a place hidden in the jungle, unknown to outsiders, unseen, but magical within. This Utopia has been built on a rare metal that is more technologically advanced than anything else on earth, whilst a certain plant unique to the land is key to the royal bloodline and the power of Black Panther.
This is a beautifully realised film, with a real cultural sensibility with a true identity established for Wakanda and its inhabitants. Every scene is brought vividly to life, from tribal rituals on the top of a waterfall to a city infrastructure, throne rooms and tech centres, and a nice diversion to Busan, where one of the film's villains, Andy Serkis' Klaue is being pursued.
What's also evident is the enjoyment and commitment a truly excellent cast displays throughout. From Boseman, who plays T'Challa as an intelligent, sensitive, proud man, to a fierce Michael B. Jordan, Lupita Nyonga on assertive form, and a sparkling performance from Letitia Wright, who, is both T'Challa's sister and a Q-like master of arms and tech specialist.
With palace intrigue abound, Black Panther finds ways to make T'Challa truly reflect his culture, which goes some way to counterbalance some of the typical - perhaps even expected - superhero movie tropes; absent fathers, flying machines, special costumes and a major battle at the climax. With the battle in question finding a different approach to the city under siege narrative that's been overdone in terms of mass destruction.
There's strong support from Martin Freeman, Forest Whitaker, Daniel Kaluuya, and Angela Bassett. Distinctive costume design, great music and a fine score. Plus well-paced moments of humour in a film that's smart, self-aware, ambitious enough to be individual within the Marvel Cinematic Universe, and a real pleasure from start to finish.
Elvis & Nixon (2016)
Elvis & Nixon
Elvis & Nixon very much relies on the performances of Kevin Spacey and Michael Shannon, and thrives on what they bring to the eventual meeting between both men. The movie is based on a true story that's better documented than is suggested here. Making Elvis & Nixon fanciful and fabricated in spite of how unusual this event actually was. Which is fine, because most biopics and fact-based dramas exist on creative licence. Although this is a movie that could have been equally successful had more of the facts been more closely adhered to in the script.
What matters, however, is how interesting and appealing Spacey and Shannon make the film's central characters. But we find a way into their respective worlds by way of Colin Hanks' Bud Krogh and Alex Pettyfer's Jerry Schilling. Schilling in particular, whose fingerprints are evident throughout the movie ("me and a guy named Elvis" is a line of dialogue at one point") and who acts almost like an audience surrogate.
Schilling, who we first encounter working at Paramount Studios, is encouraged back "in" with Elvis as we are taken on a journey to the White House that's foreshadowed in our first glimpse of the man, himself. Watching Dr. Strangelove on one of his three televisions in a nicely recreated Graceland television room. But this isn't just a reference to one of Elvis's favourite movies, the scene from Kubrick's film that's used here foreshadows the nature and tone of his meeting with Nixon. No fighting in the War Room? How about karate in the Oval Office?!
Along the way, Shannon, who doesn't resemble Elvis but embodies the role with gestures small and grand, speech patterns, glances and a physicality that's undoubtedly been studied, becomes believable as Elvis. This isn't a caricature. The caricature is what Elvis actually became. Which is appreciated in the way he expresses concerns about his identity to Schilling, and in a touching monologue about his stillborn brother, Jessie Garon.
Shannon finds genuine nuance and pathos in Elvis. Although Liza Johnson's direction doesn't quite allow the excitement and elation of meeting Nixon to be juxtaposed with crushing lows or an indication of how such ultimately manifested itself in Elvis over subsequent years. We see him disappointed when things aren't going his way and when meeting Nixon seems lost at one point, but standing slumped and resigned isn't enough to encourage deeper sympathy for Elvis. Whilst the ultimate irony was missed in failing to depict his own problems with drugs.
As Nixon, Spacey also finds nuance and manages to make the former President larger than life from behind a desk and despite his reservations about meeting Elvis, and just about everything else. He has less to work with than Shannon, but Spacey gets Nixon just right and manages to refrain from caricature whilst exploring amusing traits and mannerisms. Both physical and psychological.
Beyond the two central characters, the screenplay and some variable stock footage encourages political and cultural touch-points that aren't dwelled upon. Although it's clear that Nixon isn't adverse to finding good PR opportunities or impressing his daughters. A trend that crops up throughout the movie, with Elvis using such as a free pass at his convenience. For him, good PR opportunities are also valuable.
In many ways, however, Elvis and Nixon suffer the same issues with loneliness, isolation and concerns about their image. Which is something Elvis is portrayed as being more in touch with than Nixon, who laments about not looking like a Kennedy and tries to boost his ego by asking Krogh if he could take Elvis in a fight. Elvis, on the other hand, is aware of his image and the performance that's required just to be Elvis Presley. Which is something that was also expressed by Michelle Williams' Marilyn Monroe in Simon Curtis' 2011 film, My Week With Marilyn.
By the time Elvis and Nixon eventually meet, both characters have been fully established, and whilst the vignettes along the way are both funny and geared towards comedy, some miss the mark completely. Such as a clandestine meeting between Elvis and Nixon's aides, that hints towards All the Presidents Men but plays more like a parents' meeting. Although Elvis's visit to a doughnut shop that's populated by a streetwise and vocal black clientele shows him comfortable with all walks of life and able to keep his ego in check.
This is in stark contrast to his meeting with Nixon, where Elvis is far from humbled and tries to impress upon the President with bizarre notions and one-upmanship. In one shot, Elvis seems to dwarf Nixon in the way both men are framed. But Spacey plays the President with quick wit and more than a little bemusement at what's in front of him. He sees what see in Elvis. But can't see that he's playing him for his own gain.
Unfortunately, the pacing and editing falters during the final act, with Schilling's personal dilemma of getting home to his girlfriend breaking the meeting up at one point. Whilst Evan Peters and Johnny Knoxville's Dwight Chapin and Sonny West, respectively, linger in thankless roles.
What's also noticeable is a lack of Elvis's music in the film's soundtrack, which is quite good regardless. Although Ed Shearmur's score is transparent and obtrusive at times. But Elvis & Nixon isn't about Elvis and his music. It's about a quest to find something fulfilling in his life. Which is expressed with profound sincerity in the way Michael Shannon plays Elvis. Getting under his skin and contrasting charisma and personality with a pensive nature and moments of uncertainty. It's a warm, affectionate and earnest performance in a movie that's skewed towards comedy, but has an acute understating of not only Elvis and Nixon, but celebrity and politics.
La vie d'Adèle (2013)
Blue is the Warmest Colour
Abdellatif Kechiche's controversial Palme D'Or winner, Blue is the Warmest Colour, tells the story of a young schoolgirl who sees and falls in love with an older girl, whom she seeks, finds and starts a passionate relationship with. Starring Adele Exarchopoulos and Lea Seydoux, this outstanding drama runs the emotional gamut and features terrific performances from both female leads, Exarchopoulos in particular, who is truly mesmeric. The essence of Blue is the Warmest Colour concerns themes of self-discovery, but this is a rich text, and one that also portrays the results of discrimination, bullying and peer pressure -- whilst understanding that divisions are present in life. At 2 hours and 59 minutes, this is also a lengthy film, and one that moves at a stately pace. Scenes play out far beyond what may be considered a normal, or cinematic, resolution. Instead, seeking to delve deeper in the psyche of the characters, especially Exarchopoulos' Adele. The sex scenes are also lengthy, unflinching and absorbing in their intimacy. This may be voyeurism writ large, but the graphic nature of the girls' physical love is key to understanding their desires, motivations and a want to be part of something real. Adele's relationship with food shouldn't go unnoticed, either. Her voracious appetite for nutritional nourishment matches her sexual appetite, but draws a correlation in her initial lack of grace, to a change in tastes and feeling a sense of belonging through food and through sex. This is a remarkable film, one of 2013's finest, and I don't say that lightly. It's daring, provocative, but has an emotional undercurrent that's pure electric.
Don Jon (2013)
Don Jon
Don Jon, which was written and directed by Joseph Gordon-Levitt, is an acerbic romantic comedy that asks what would happen if two people with completely unrealistic expectations of the opposite sex happened to be in a relationship. Jon, played by Levitt, is someone who lives his life without asking questions, only indulges in what he knows and likes, especially an addiction to internet porn. Oppositely, Scarlett Johansson's Barbara is a girl whose idea of a real man and true love is what she sees in the most saccharine of Hollywood movies. Traits handed down from their parents, it seems, Jon's father played here by a gauche Tony Danza. Jon's walk down the proverbial corridor of life sees him as someone more interested in playing with himself than playing with others, and even when he's joined on that walk by Barbara, his compulsions and her single-mindedness come to drive a wedge between them. The narrative here is fairly simple, however, especially during the first half of the film, in which the usual conventions of romantic comedy are adhered to in spite of the central character's compulsory masturbatory habits. And this makes for a slightly hollow veneer, in my opinion, especially with some horribly outdated and quite banal exchanges in which girls are rated out of ten. Which, had the dialogue and design not seemed so false, it probably wouldn't have been one of many issues I have with this film. Jon's wonderment that he can view porn on his mobile phone also left me bemused at the writing of a film that's nowhere near as sharp as it would like to be. Basically, it doesn't ring true. However, the introduction of a third character, played superbly by Julianne Moore, changes the dynamics of the film. Her ever-excellent screen-presence finds her well cast as a genuinely three- dimensional character with an emotional core. Here is where the best of the film takes hold, and that's also noticeable in how Levitt directs Moore and the scenes in which she appears. Still, I was disappointed with Don Jon, which is tame next to something like Shame, and is more generic than its fledgling director may have desired. But it isn't without interest or merit, given Julianne Moore's performance. But it needed to be smarter, shorter and that bit more daring.
The Counselor (2013)
The Counsellor
The Counsellor boasts an incredible pedigree, both behind the camera and in front. Cormac McCarthy has a towering renown in the literary world, whilst his material has proved ripe for big screen adaptation, especially the outstanding No Country For Old Men. Directing McCarthy's first original screenplay is Ridley Scott who, with a cast that includes Brad Pitt, Penelope Cruz, Javier Bardem, Cameron Diaz and Michael Fassbender, should have all the ingredients of something very special. But this is quite a muddle of a film, and one that must have lost something considerable in the translation from page to screen. Set in New Mexico, the aloof plot of The Counsellor concerns a drug deal gone wrong and the consequences of the actions which led to that. There's few what's, why's or wherefores, with little exposition as we're introduced to a world of shady characters who surround Michael Fassbender's counsellor. Those include Javier Bardem's ostentatious gangster, his predatory moll, played by Cameron Diaz and Brad Pitt as an underworld trader/dealer of sorts. Nothing here is actually made clear, including the reason any character does just about anything in the film. Which is by design, of course, especially with this leaning more towards character study than narrative. But with no hook and nothing to hang on to, The Counsellor becomes an increasingly protracted and pointless film. And it's not as though the direction is poor or that the performances are bad, simply that the themes of the film undermines the entire movie. Whilst, some truly risible dialogue and glaring plot-points only serve to hammer home an exercise in the banal. File this under "could do better!"
The Butler (2013)
The Butler
The Butler is a fictional account of an African American butler's years spent working under eight administrations in the White House. Based on a true story, the film's wide timeline stretches from 1927 to 2008, following the life of Cecil Gaines, a young slave boy who works his way from the cotton fields to hotels, and then, the White House. Directed by Lee Daniels, who's previous work is a mixed bag, and written by Danny Strong, who hasn't penned a great deal, this film's main attributes are its cast and the historical significance of the periods that encompasses. Primarily, pivotal moments in social history for black America. Forest Whittaker stars as Cecil Gaines, with Oprah Winfrey playing his wife, and both Kenny Kravitz and Cuba Gooding, Jr. as co-workers. The narrative structure of The Butler won't unusual to anyone who has seen Forrest Gump. The primary character being present as snapshots of history are played out in various chapters. Here, a string of actors portray various presidents; from Robin Williams as Dwight Eisenhower to James Marsden as John F. Kennedy, Leiv Schriber as Lyndon Johnson, John Cusack as Richard Nixon and Alan Rickman as Ronald Reagan. Rickman is the least believable here, but Jane Fonda is excellent as Nancy Reagan. Throughout the film, well-known and sensitive moments in history, such as Kennedy's assassination, Watergate, the war in Vietnam and racial segregation in the south, are depicted with care as Gaines family and work life come to show the human and political sides of turbulent times in America. Gaines, in a sense, is emblematic of everything that happens, with Whittaker's assured and sincere performance proving to be a study in dignity. Oprah is excellent as his wife, and should find an Oscar nod coming her way. And although the film is knowing, calculated and pushes all the right buttons, it treats history with respect and never undermines the poignancy of its subject matter. It's also worth mentioning Mariah Carey, who plays Gaines' mother. She's only in two scenes, but, as with her performance in Precious, acts without vanity or the burden of her image. She may find a career in acting yet. Which was unthinkable after Glitter. Lenny Kravitz is also moving in the right direction, and is very good here.
The Selfish Giant (2013)
The Selfish Giant
The Selfish Giant takes its name from the Oscar Wilde story, although it bears no relation, being an original story from director Cleo Barnard. Here, centering around the lives of two young Yorkshire boys who are without aspiration, education or a sound family unit. The two young stars of the film, Connor Chapman and Shaun Thomas, play Arbor and Swifty, best friends who spend their days skipping school and getting into further mischief in the streets and fields surrounding the run-down estate in which they live. Arbor, with his drug-addict brother and a mother who can't control them, and Swifty, with his numerous siblings and volatile parents who are so destitute they can't afford electricity to their house or a meal greater than beans and dry bread. By chance, the boys encounter two men stealing copper cable from the railway and, as the men hide from track engineers, the boys take the chance to steal the stolen cable and sell it to local scrap dealer, Kitten, played by Sean Gilder. The boys aspirations to earn some money has them working for Kitten, who abuses their naivety and trust as he pushes them into hard labour with little reward. Especially when Kitten sees Swifty's affinity with horses and an opportunity to win money trap racing on the motorway nearby. Not too far removed from Ken Loach's seminal Kes, The Selfish Giant is kitchen sink cinema with the added realism of people and place, Chapman and Thomas being non- professionals who reside in the area where the film is set, whilst the script and direction are uniformly excellent in a film that is devastatingly powerful and intensely moving.
Philomena (2013)
Philomena
Philomena is the story of a woman whose child was taken from her and given up for adoption in 1950s Ireland. Fifty years later, on the birthday of a son she didn't plan to have, but didn't want to lose, her grief and upset leads to a series of events in which an unknowing daughter's chance meeting with journalist, Martin Sixsmith, leads to a potential story and an unlikely friendship in a quest to find the woman's long-lost son. The Philomena of the film's title is played by superbly Judi Dench, who brings not only a quiet charm, but genuine humour, compassion and understanding to a wholly realised character. More cynical, and embittered, is the journalist, played by Steve Coogan, who produced the film and wrote its first-class screenplay. At first, their relationship is built entirely on necessity and a mutual understanding, but with this comes trust and empathy as they undertake a more subtle equivalent of a road movie, as Philomena and Sixsmith put together the pieces of a puzzle they hope will lead to her son. With a narrative that never faulters, and truly excellent performances, Philomena doesn't offer easy answers or pat resolutions, whilst the central characters are both intelligent and hugely endearing. Their exchanges proving enlightening, very compelling and often funny, despite the serious nature of the narrative and genuine issues being discussed. Especially those pertaining to the culture of slave labour, abuse and adoption at the hands of the Catholic nuns during the 1950s. This is dealt with without cliché or creating caricature, simply telling a fascinating story well.
Le Week-End (2013)
Le Weekend
Le Weekend, directed by Roger Mitchell, is a smartly-written, funny and, at times, acerbic, romantic comedy/melodrama, starring Lindsay Duncan and Jim Broadbent. Here, playing a couple who are spending a weekend in Paris as a means of rejuvenating their marriage and capturing some of the magic from time spent there before. Immediately, nothing goes to plan and romance turns to bickering, teasing, hijinx and a chance encounter with an old friend, played by Jeff Goldblum. Shot on location in Paris, the scenery and sights are a treat in themselves, whilst Hanif Kureishi's script hits most of the right notes. In a way, Le Weekend is akin to an older version of Richard Linklater's wonderful Jesse/Celine trilogy -- if not nearly as good. But it's still a fine film with much to offer those seeking a more mature, lingering romantic comedy that rings true and presents realistic characters and genuine situations
Byzantium (2012)
Byzantium
Neil Jordan's Byzantium stars Gemma Arterton and Saorise Ronan as two-hundred year-old mother and daughter vampires who are trying to survive in an English coastal town. They're on the lam after the mother, Clara, played by Arterton, falls foul of her strip club employees and kills a mysterious man whom she is pursued by in a thrilling chase near the start of the film. On the coastal town, a series of flashbacks offer insight into the story of these two girls, telling how they became undead and revealing the source of Clara's fears and paranoia. Eleanor, her daughter, wants to tell their story and cannot contain her thoughts, so endeavours to write her experiences down on paper. When her sanity and safety is questioned by a college lecturer, danger and panic ensues along with their past catching up.
This is a vampire film that establishes some of its own rules and avoids many of the known tropes of the genre. Daylight isn't a problem for these creatures, whilst, in place of fangs, a talon-like thumbnail is used to pierce the wrists of willing participants or be throttled into the necks of victims and foes. A novel approach, although the film is too self-aware on occasions, but is played entirely straight and with much style and atmosphere. Arterton is terrific here, impressing once again with an assertive, sexy performance, which plays in contrast to the soft-spoken Ronan, whose Eleanor is gentle and introspective. The primary cast is small, but also includes Jonny Lee Miller, seen in flashback as syphilitic creep, whose actions are pivotal to the story. Daniel Mays, as a grief- stricken sap, whom Clara plays on for her and Eleanor's benefit. And Caleb Landry Jones, as a young waiter whom Eleanor befriends.
At times, this is an invigorating and exciting film, although it's free of genuine scares. The blood does flow thick and occasionally fast, with the emphasis on mood and the telling of an intriguing story emphasised over creating scares. Unfortunately, this is dashed by a slightly contrived and obvious climax that works, if only just. Byzantium does some new things for the vampire film, but won't be considered revolutionary or pivotal in doing so. Whilst it's unlikely to find the audience numbers of the Twilight films or more generic crowd-pleasers. But this is a worthwhile and involving film that suffers a few plot holes too many, but is largely satisfying. Especially with such fine performances by the two splendid female leads.
American Hustle (2013)
American Hustle
In David O. Russell's American Hustle, Christian Bale plays a conman who works - and is in a relationship - with Amy Adams, although he's also married to Jennifer Lawrence's character. When they're caught by Bradley Cooper's FBI agent, a deal is made for their freedom if they'll cooperate and put a sting on the local mayor, played by Jeremy Renner. Set in 1978, American Hustle is brimming with style, confident performances and astute direction mixed with a terrific soundtrack that features Duke Ellington, Wings, Frank Sinatra, Elton John and Ella Fitzgerald, amongst others. It's well written and perceptively clever, although it's more akin to being a showcase for the broad performances of its stars than a clear narrative. A narrative that may have more to say about post-Watergate political corruption and underworld influence had it remained more focused on singular story-telling aspects. Instead, Russell doesn't allow the intricacies of the plot to easily settle, keeping the performances taught and the audience engaged in those performances in spite of any subtext that may be culled. And the performances are excellent on every level, although Bale does look quite similar to Tom Cruise's Les Grossman -- and there are broad comic strokes abound here. Especially in a character we first see gluing down a piece of turf-cum-hair onto his head before working on the most elaborate comb-over you'll ever see. But that's key to the narrative and a world in which the characters exist solely on what they outwardly project -- Amy Adams is particularly good here, with dual accents and a a sexual allure that has who she wants doing what she wants. Although Jennifer Lawrence's performance reaches moments of tour-de-force bringing her own sexuality met with a coy duplicity and a touch of naivety amidst the scheming. Cooper and Renner have more straightforward parts, but bring a strong and vibrant presence to key roles. Whilst the feeling for the period, complete with garish and revealing outfits, works a treat and adds its own facet of curiosity amidst flared trousers, gaudy jewellery and plunging necklines. The ultimate payoff may not have the sting one would hope for, but this is vibrant and knowing film-making that asks for repeated viewings and faulters only in making an apology for the kind of characters we enjoy spending time with.
All Is Lost (2013)
All is Lost
Written and directed by J.C. Chador, All is Lost stars Robert Redford as a yachtsman adrift in the Indian Ocean, whose boat is hit and punctured by a floating cargo unit that's, seemingly, come off the side of a cargo ship. As he endeavours to repair the boat, he's increasingly at nature's mercy under harsh conditions with no sign of land or any other vessels at sea. There's very little in the way of dialogue as we don't even get to know the man's name, but Redford and Chandor draw the viewer in like water to the leaky vessel as danger becomes apparent. Redford, who was among the most handsome of movie stars, at 77, remains among the most accomplished, engaging and talented actors of the past fifty years, and here, he gives what may be the performance of his career. This is cinema at its most real and intimate, with Redford performing all of his own stunts and going through the mill for a man of his age. Crucially, there's no bountiful exposition or opportunity for objects, needs or musts to serve as a catalyst for dialogue and the stating of one character's position; we know how his character feels because we can see it in both him and his environment. We see the struggle and are close to gasping along with him when the boat capsises or time is of the essence, which it increasingly is throughout this tremendous film. This is absolutely one of the best films of the past year and Redford should be Oscar nominated along with the film.
The Secret Life of Walter Mitty (2013)
The Secret Life of Walter Mitty
The 1947 version of The Secret Life of Walter Mitty has long been a favourite film of mine, certainly one that's lingered from childhood, although it wouldn't be in my top-ten nowadays. That film was the epitome of what a star vehicle could be during the forties; especially for a talent such as Danny Kaye. It's bright, fanciful, puts Kaye front-and-centre with opportunity to showcase his many talents, whilst offering a gorgeous love interest in Virginia Mayo, and a risible villain in the ominous shape of Boris Karloff. Plot-wise, this was paper thin, and whilst Ben Stiller's recent version could have been a like- minded project, this new story far exceeds what was done in 1947 and presents one of the most engaging, uplifting and joyous films of the past year. Directed by Stiller from a screenplay by Steve Conrad, this story of a daydreaming photo executive for Life magazine is a mightily impressive and very sincere effort from Stiller, whose Mitty jumps from train station platforms to burning buildings, battles his new, obnoxious boss like a superhero would a super-villain on the streets of New York, and romances his office crush, played by Kristen Wiig. But this is all in Walter's mind, of course, and part of an imagination wonderfully and creatively realised by Stiller, whose framing, composition and ability to find humour in Mitty, without making a clown of him, is hugely impressive and highly endearing. Even the opening credits are a simply effective visual treat, whilst there's genuine sadness in Stiller's facial expressions, delivery of his lines and the way which he shoots and frames the lonely, grey Mitty. As the story progresses from fantasy to realism, such care and attention to who the character is and what he needs allows for a leap of faith to be taken with Mitty when an important photo negative goes amiss and he decides to find the photographer, played by Sean Penn. There's shades of Hearts of Darkness here, as Penn is almost akin to the elusive Col. Kurtz with regards to Mitty's quest, and if there are a few broadly comical missteps, perhaps Stiller, as a director, felt occasionally unsure of himself in territory largely new to him. But he needn't have. This is utterly charming, life-affirming cinema that I enjoyed tremendously, especially with Stiller on truly ace form both in front of, and behind the camera.
Mandela: Long Walk to Freedom (2013)
Mandela: Long Walk to Freedom
Mandela: Long Walk to Freedom is a film that's certainly sincere, well-intentioned and does make for a good tribute to the life of Nelson Mandela, especially with such a charismatic lead in Idris Elba. There's also a good feeling for the sixties during the early parts of the film, where Mandela, as a young lawyer in South Africa, trains, marries, cheats on his wife and becomes involved in politics through his position as a lawyer. Unfortunately, some events and people are written so thinly that we barely get to appreciate much that's going on around Mandela, as his presence is so very central to the story that other characters become one dimensional or quickly skimmed over as the story leaps forward almost episodically. Elba was certainly well cast as Mandela, whom he plays with strength, conviction, sincerity and with the physicality of the man, both bodily and verbally. When he speaks, it's with truth and a real sense of integrity. This is matched by the spark in Naome Harris's portrayal of Winnie Mandela, whose character isn't brilliantly written, but does provide a contrast with Madeba and opportunity to focus the narrative elsewhere. This soon adds touches of poignancy when Mandela is incarcerated on Robben Island and the emotions of husband, wife, father and mother become present amidst the racial turmoil. But with so much scope and ambition in a story that spans several decades, it's credit to the performances and the intention of the film that it does make an emotional connection. And whilst the final act is a more stately affair, with the employment of vintage footage adding both filler and a touch of realism, it's Elba who continues to engage as the elder Mandela, even if his tremendous physicality occasionally betrays him. And whilst this was a commendable project made with sincere intentions, it's Elba who holds the film together and makes up for the shortcomings of a narrative that's too by the numbers.
47 Ronin (2013)
47 Ronin
47 Ronin is terribly flawed, but does have some great moments and an enticing premise that hits and misses. One's enjoyment of this film will hinge predominantly on the cast, the idea and whether you will allow enough goodwill to overlook far too much exposition, poor pacing, clichés abound and some fair-to-middling CGI. But this is more akin to the Lone Ranger and Pirates of the Caribbean than Kurosawa or Hiroshi Inagaki' s classic film version of the 47 Ronin story. However, it's also hurt by a lack if humour, which wouldn't have gone amiss given how stern the tone remains throughout. There's also a sense of dread that's lacking, whilst excitement never builds to a real frenzy in spite of gargantuan samurai foes, dragons, demons and witches. But the story of a half-breed outcast who lives like a slave and works alongside samurai worked for me, and was supposed to provide a credible reason for the casting of Keanu Reeves in the leading role. And he brings a lot to the role, especially a terrific physical presence and martial arts ability that's a joy to watch -- particularly in a fight scene with the great Hiroyuki Sanada, that was worth the price of admission alone for me. Sanada is well cast and reliable here as the samurai retainer and head of the 47 ronin; and what's appreciable here, is that Reeves, despite his star-billing, is never pushed to the fore. He's a pariah who become respected and part of a band, but isn't there to be first and foremost in every scene. Tadanobu Asano was also well cast as the scheming Lord Kira, whilst Rinko Kikuchi's slinky, wicked witch is an insanely brilliant creation. And I relished in watching actors whom I like so much playing it up broadly with such a colourful and often vibrant spectacle. I wanted more, though; and don't think the end result, despite its flaws and virtues, is entirely robust. But I still liked it and greatly admire Keanu Reeves for sticking with a project that really needed a better director to flourish. Unfortunately, this seems to be tanking in every market, and although it's been well advertised, I haven't seen Reeves promoting a film that's alienating Japanese audiences and holds little interest in the subject matter for western audiences.
Saving Mr. Banks (2013)
Saving Mr. Banks
Saving Mr. Banks is based on the story of how Walt Disney bought the rights to make Mary Poppins. Starring Tom Hanks as Disney, Emma Thompson as P.L. Travers, the author of Mary Poppins, and Colin Farrell, as Travers' father -- as seen in flashback. The crux of the story centres around Travers' time spent at Disney studios, working with Disney, Don DaGradi and the brilliant Sherman brothers, as a screenplay is eeked out and some sort of agreement reached between the film-makers and the defensive Travers. Here, both Hanks and Thompson shine, playing opposite types butting heads over a common interest. Thompson is outstanding as Travers, walking a fine line between being risible and empathetic, as scathing barbs and a difficult temperament block the ebullient Walt at every turn. Hanks, equally good, is completely genial and very convincing in his role. We know and see Disney's motivations, become aware of a pointed drive to succeed and create a world in which he is master of his domain. But this is a likable character, as is Travers, whose backstory is told in extensive flashbacks. Her childhood, in the Australian outback, especially her relationship with an alcoholic father, comes to define her life as she wrestles with memories of tragedy and the ideal. Thus, her determination not to allow her beloved creation to be tampered with by Disney. Her resolve loosens, of course. We all know the film was ultimately made and became a tremendous success. But this is the story (albeit a romanticised one) of how the film came to be. Films about the movie business are often favourites of mine, and this is no exception. Saving Mr. Banks is a really wonderful film. The story is well written and directed, but comes with an enormous cache for anyone fond of Mary Poppins. The flashbacks occasionally fracture the narrative and spell out Travers' arc a bit too freely, but ultimately, the back- story is vital to her catharsis. Especially when this aspect of the story is so well handled -- despite feeling a bit like a different film entirely.
Nebraska (2013)
Nebraska
Alexander Payne's Nebraska is the story of an elderly man's quest to collect a million dollar prize he's won in the post. Starring Bruce Dern - in a career-best performance - his character, Woody, is first seen trying to walk from Montana to Nebraska when he's stopped on the highway by a police officer. Woody isn't entirely clear of mind, whilst his sons are aloof and his wife, played brilliantly by June Squibb, constantly berates him. But Woody is determined to get his million dollars and endeavours to walk to Nebraska even when his son explains that it's only a mail scam that he's trying to collect. Undeterred, Woody is soon being driven to Nebraska by his son, where the narrative picks up on the conventions of a buddy/road movie, as they encounter numerous situations and characters along the way. In particular, Woody's devious old business partner, played superbly by Stacy Keach, and a leeching family who want their share of Woody's money. At times, Nebraska is reminiscent of Yashujiro Ozu's Tokyo Story, with the elderly characters being misunderstood and unappreciated by their children, until they learn of their lives, loves and a very full existence that came to shape who they are. This is brilliant and affecting story-telling.
Homefront (2013)
Homefront
Homefront, which was written and produced by Sylvester Stallone, along with frequent collaborator, Avi Lerner, began life as a vehicle for Stallone before he stood down to allow Jason Statham the leading role of a former DEA officer living in rural Louisiana with his young daughter. Directed by Gary Fleder, Statham is supported by a fine cast that includes Kate Bosworth, Winona Ryder and James Franco. The story takes hold when Statham's young daughter defends herself in the school playground against a bully. The bully's mother, played by Bosworth (who is good as a rake-thin junkie) wants retribution but finds her sleazy boyfriend to be no match for Statham. But when her brother, a local drug dealer, played by James Franco, gets involved, the stakes are raised until Statham's past comes back to haunt him. Basically, this is nuts and bolts stuff, buoyed by a strong cast and good performances, but the script offers nothing special, whilst the direction is just adequate. Although the colour palette seemed to change as much as Statham's wandering accent. It's not a bad film, nor is it unlikable, although Statham has done better and more interesting stuff recently, but this holds no surprises and does nothing unique
Carrie (2013)
Carrie
In Kimberly Pierce's adaptation of the Stephen King novel, which was first brought to the big screen quite brilliantly by Brian De Palma, in 1976, the talented Chloe Grace Moretz takes the lead role as Carrie White, with Julianne Moore in the role of her overbearing and religious obsessed mother. Story-wise, this version doesn't veer far from De Palma's film (or the novel), but it lacks the operatic oeuvre and strokes of creativity that marked the 1976 film. Instead, an uneven tone is struck from the offset, with Moretz able to convince as being naive, but not the social oddity or pitiful-looking figure personified by Sissy Spacek. Conversely, Moore is too full-on by half as the mother, yet never seems to have the upper hand on Carrie. Unlike her cruel and taunting classmates who think nothing of filming Carrie on their mobile phones when she has her first period in the gym showers. Scenes that Pierce handles well, as she does later in the film when Carrie is at the prom. There's a warmth here and an affection for the character, despite the inevitable. Although, most of the secondary characters are strictly one- dimensional, to such a degree that, the blistering finale doesn't strike with the same fire of Dr Palma's film. Here, Carrie's abilities are more akin to superpowers, whilst her Sadakoesque contortions serve to detract from her real inner turmoil. And with the absence of a great score, not to mention some creativity amiss as the film ends, Carrie ends up as a film that may appease those unaware of the original, but won't do much for more seasoned horror fans. Which is a pity, because I expected more of this film. And certainly hoped it would be better than your typical spate of remakes. And to some extent, it is. But that's more to the value of Chloe Moretz, who has huge potential and will absolutely go on to better things.
Tracks (2013)
Tracks
Tracks tells the story of Robyn Davidson's 1700 mile trek across the Australian outback, which she undertook in 1977, walking from Alice Springs to the Indian Ocean with only a small train of camels and her dog for company. Directed by John Curran and starring Mia Wasikowska, this long- gestating project is slow-moving, but compelling and involving as this young woman endeavours to accomplish a personal journey that soon becomes very public. Wasikowska is splendid in the lead, giving a quiet, but assertive performance portraying a character thriving in a man's world despite advice to the contrary. Necessity, however, means that she can't journey entirely alone, needing sponsorship and guidance along the way. The former, coming from National Geographic, whose photographer meets her at intervals en route, and the latter in gaining the trust of Aborigine elders whom she must be accompanied by if crossing hallowed ground. Along the way flashbacks inform us of Davidson's past, filling in gaps on her childhood and what may have encouraged her to seek solace in the desert. Whilst her formative months learning to handle and control camels shows how tenacious, intelligent and determined this girl is. Along the way, danger is certainly abound, but this isn't an action movie whilst the mood created is often subdued and introspective. The location shooting is excellent and animal handling first-rate. The camels are particularly anthropomorphic, whilst Davidson's dog, Diggity, proves to be her most valuable companion.
Inside Llewyn Davis (2013)
Play it Again, Llewyn
The Coen brother's Inside Llewyn Davis tells the story of its titular character and his woes on the Greenwich Village folk scene during a week in 1961. Starring Oscar Isaac as Llewyn Davis, the Coens have fashioned a character whose social inadequacies and inability to communicate are his downfall in life and on the music scene. He's talented, but despite the kindness of others, remains stuck in a cycle of despair that leads him from one couch to another. Davis is one of the Coen's more aloof and unlikable central characters; throughout the film he's rarely inviting and, in the snubs and scowls at his friends and colleagues, he's difficult to gauge and remains largely impenetrable. This may be a drawback for some, but I found his story to have a strong allure, especially with the Homeric narrative and vibrant undertones that reveal themselves in the way one may become familiar with a new album. The cinematography is quite splendid here also, and is important to mention, because the colour palette and use of browns and greens make this film look like an old album cover. This is also reflected in the framing of some scenes, whilst there's a certain nod to The Freewheelin' Bob Dylan; something Cameron Crowe also done in Vanilla Sky. In support are Carey Mulligan, Justin Timberlake and John Goodman, all of whom are memorable in small roles -- Mulligan and Timberlake play a singing couple called Jim and Jean, with the smiling and well-liked Jim being very much the antithesis of Davis. Even when Jim isn't present in the film, he's spoken about in such a way that it's easy to appreciate the subtleties of Timberlake's performance and how it resonates against Isaac's. Mulligan is more scathing, being almost as harsh as Davis, but with good reason, and although Goodman's role is small, it's pivotal given the choices present when Davis is given a touch of his own medicine. Importantly, the music here is quite splendid throughout -- some songs are written and performed with tongue firmly in cheek, such as Please Mr. Kennedy, whilst there's sincerity present given the quality of the music's production and the songs having been sung live in every instance bar one. Inside Llewyn Davis is one of the Coen brothers finest films to date, which is no mean feat, although it's not their most accessible and, much like it's central character, there's depths to be found despite an aloof nature.
Out of the Furnace (2013)
Out of the Furnace
Out of the Furnace is Scott Cooper's second film as director after the praise and success of 2009's Crazy Heart. Like Crazy Heart, this is very much a character study and boasts a fine array of actors on splendid form. The story, of two brothers, played by Christian Bale and Casey Affleck, centres around Affleck's inability to adjust to society after serving in Iraq. He's drawn into the world of bare knuckle fighting, much to the dismay of his elder brother, who wants him to work in the local foundry. Filmed in Pennsylvania, Out of the Furnace both looks and feels quite similar to The Deer Hunter, although we never leave home soil. Cooper, who also wrote the screenplay, uses the characters as emblems of society making their purpose relevant to a bigger picture both within and out with the narrative -- Bale is symbolic of hard work and decency, Affleck, disillusionment and anger, whilst Willem Defoe and Woody Harrelson, who play a small-time money-lender and a backwoods gangster, are representative of Wall Street and Government and how they can dictate the lives of ordinary people. The results are quite compelling during the first two- thirds of the film, with Bale attached to an underused Zoe Saldana and a turn of events fracturing both his love life and family life. Themes of family and brotherhood are also strong here, and whilst the film steps assuredly and moves at a stately pace, the final act veers into more conventional territory and undoes much of the underlying tension by changing gears and becoming a film of a different nature. Which is quite unfortunate, because there's much to admire in Out of the Furnace, not least of all Christian Bale in a performance the equivalent of anything he's done recently. Casey Affleck is very good at brining anger and a boiling pot mentality to his roles, and does so superbly in this film. Forest Whitaker is also among the cast, with one of the smaller roles as a town sheriff; Whitaker is usually reliable and is no less than such here. Woody Harrelson is also very good, although the initial introduction to his character establishes the type of man he is, this first scene is also at odds with the better aspects of the film. Recommended, though; with some reservations of the denouement, but great acting and solid direction throughout.
Mr. Holmes (2015)
It's Not Elementary, But it Is Superb.
In Mr. Holmes, Sir Ian McKellan plays the fictional detective as an elderly man in poor health who is increasingly frustrated about the facts of his final case, which was some thirty years before. Holmes now lives alone on the coast with only his housekeeper and her young son for company, although his time is spent keeping bees and writing a journal. The boy soon becomes a companion for Holmes, jogging his memory and helping him to remember the facts about his final case, and not the elements of myth and legend galvanised by the late Dr. Watson in his stories. This mysterious case is detailed in flashback, which come and go like Holmes' memory. Holmes, in fact, is showing the early symptoms of Alzheimer's disease. This element of the story is treated sympathetically and with great subtlety, as McKellan is able to express so much with just a glance or a murmour. It's terrific acting with a performance that should be noticed come awards season. Importantly, Mr. Holmes stays grounded and true to Mitch Cullin's source novel and the character created by Sir Arthur Conan Doyle. Where it waivers, if only slightly, is how busy the narrative is, with a trip to Japan and flashbacks to the Orient also playing a part in the story. But Mr. Holmes thrives on understanding character as much as story, and succeeds wonderfully in doing so.
The Longest Ride (2015)
Quite an Easy and Likable Ride
The Longest Ride is the latest adaptation of a Nichols Sparks novel, none of which I've read, but I know what to expect having seen the films adapted from his stories. There's usually a boy and a girl who meet and fall in love, but have to find compromise in their lives for a relationship to work. There's usually flashbacks to the past that depict some other love story or the younger incarnations of certain characters. The catalyst for this is typically a letter or a notebook. All of which is present and correct in the Longest Ride, in which a young art student and a professional bull rider meet and fall in love. Along the way there's a chance encounter with an elderly man whose life is saved by the couple when they find his car off the main road and crashed into a river. Lo and behold, he has a box full of letters that the female protagonist, played by Britt Robertson, finds and brings to him in the hospital. She reads the letters and soon finds out about the man she saved and the woman he loved in his youth and after the war. Much of which, along with events in the present day, are very corny, hugely contrived and sometimes unintentionally funny -- like the part where the cowboy, played by Scott Eastwood, comes courting at an all girls' dormitory. The juxtaposition between art and bull riding is an unusual one, although broad connotations are obviously abound. But I liked the cast and think Robertson and Eastwood have a bright career ahead of them. This isn't a great movie by any stretch of the imagination, but if you know what to expect from a Nicholas Sparks adaptation and like that, this one's for you. If not, it's corny, sweet and silly, plays contrived and knows where to tug the heartstrings. I was OK with that and quite liked The Longest Ride despite its flaws.
The Visit (2015)
Not an Enjoyable Visit
Directed by M. Night Shyamalan, The Visit is grim fairytale about two very annoying kids who are spending the week with their nana and pop pops (gran and granddad to anyone else) for the very first time. They haven't met before despite both kids being in their teens. This, due to something their own mother done as a teenager before leaving home never to reconcile any differences. But nana and pop pops have gotten in touch and think having the kids over would be an olive branch, of sorts. But when they get there, it's obvious something's not quite right with nana and pop pops. What unfolds is rambling game of hide and seek with added scares, but filmed by the kids who are making a documentary of their visit. But nana running around naked scratching doors and pop pops keeping an outhouse full of nappies he's soiled because he's incontinent doesn't trigger enough alarm bells to get out after the first night. And so it continues, with added rapping from the grandson, which just left me bemused along with a rambling narrative that wants to be scary and funny, but is neither. Whilst the usual Shyamalan twist isn't hard to spot and does nothing to make such a poor film any more interesting than it struggles to be. It's this director's worst film to date, which is quite an accomplishment.