The_Frase Reviews

Extremely Loud & Incredibly Close (2011)

An exploration of grief, family and self.

[6/10 · 21 February 2012]

Oscar (Thomas Horne) is an autistic child who, although quiet intellectually well equipped, lacks the social and inter personal skills of others. This is his story of losing his father (Tom Hanks) and his attempts to come to terms with this.

He and his father first begin their search for the 6th borough of New York, the lost borough. This was an exercise to develop Oscar's social skills and to face the fears that hold him back. Upon his death the quest becomes one of inner strength and dealing with the unanswerable question of why?

Although highly acclaimed within the industry, the film has been given some negative press, due to its pace, the level of acting and some of the narrative events most specifically 9/11. I was happy to realise upon watching the film that these were baseless.

The screenplay (Eric Both) was well assembled and stayed true to the original plot and themes of the novel (Jonathan Safran Foer). The acting of Hanks and Bullock was emotive and understated, and Horne's interaction with each was excellently displayed.

The films haunting score and conventional structure helps focus on the characters and more importantly on the mystery and intrigue of the quest and the obstacles that face Oscar, including those of his own imposition and some from his condition.

The film is a bit of an emotional roller-coaster, which thankfully doesn't dwell on the political strife of 9/11. This being the case the events retain their true emotionally devastating effects without subverting from the original themes. Although the grandparents are less explored than I would have liked the focus on Oscar and his journey is the central. This is definitely one that is worth a watch, but you should be prepared for its emotional content.

The_Frase

The Girl with the Dragon Tattoo (2011)

Fincher has done it again, a brilliant new addition to his impressive resume

[8/10 · 30 January 2012]

Review The Girl with the Dragon Tattoo.

The English adaptation of the runaway success story of 'The girl with the Dragon Tattoo' was always going to be a large undertaking due to the 'best-selling' Stieg Larsson's Novel and the highly rated Swedish adaptation by Män som hatar kvinnor.

Even for a director such as David Fincher, who can boast a career built on many hugely popular titles such as 'Se7en', 'Fight club' and 'The Social Network', an undertaking of this magnitude and an inability to produce a film that was deemed worthy of its attachment to the novel would be disastrous. Although not doubting his ability, the undertaking of this project could be seen as a bold but exciting move. Fincher's adaptation is every bit exhilarating and in depth as the base material.

The intense intricacies of the novel are displayed well throughout the film. These are an essential foundation for the trilogy but are obviously detrimental the motion and speed of the picture. For a 2:40 hour film, these areas can slow the pace to a point where people around me were nearly nodding off. Combined with an inability of many English speakers to learn and follow the characters Swedish names, the opening of film can be challenging for those seeking easy gratification and not familiar with the characters.

The numerous side-by-side narratives that permeate into the main plot are very well constructed, shot and acted. It is through these vessels that Daniel Craig and in particular, Rooney Mata shine.

Mara's transformation into the 'cyberpunk-esque' hacker is flawless. I often completely forgot her as an actress, a true testament to her performance. I found that she breathed a greater sense of humanity into her version of the character which was a great loyalty to the novel.

Craig's performance is obviously integral to the film but it is all the better alongside the mesmerising Stellan Skarsgård as Martin. His performance is truly great and sits well alongside the strong acting casts' offerings.

The film displays the action and points of conflict in a heart racing trance, you cannot help but be consumed by the intensity and realism that's pouring out the screen. Brutal, unflinching but not prosaic in the slightest, these scenes bind the audience to the characters trails and battles in a very close and personal way. We feel their pain, think their thoughts and sympathise with their positions.

Throughout the viewing experience you are held by that feeling that the film you are watching is going to be something that not only will you watch again, but champion it to your friends and colleagues. I have already had discussions about this film with groups of people that some may regard as outside of the typical demographic. Like the novel and Swedish version this has the ability and power to mesmerise large portions of the population. An excellent adaptation expertly constructed and flawlessly acted.

8/10 The_Frase

The Descendants (2011)

Worthy of the nominations, but not for everyone

[7/10 · 22 January 2012]

The much hyped and eagerly awaited film release of one of this years' main award title contenders will always divide opinion based on its critical and public receptions. Here is a film that will most likely be enjoyed and celebrated by critics, those close to the industry and avid movie goers and perhaps less so by the general public as this film lack that easy to digest nature and offers little in the form of easy gratification....

Full review - read more:

The timely release of the latest and much anticipated Alexander Payne offering has lead the film to numerous nominations on both sides of the Atlantic. From best picture, best direction and leading actor the nominations point this film on a high flying trajectory.

The film from the outset develops a complex and emotionally gruelling story line of a severely injured mother, dysfunctional daughters, and an emotional distant, incapable father. The journey of the family's struggle to come to terms with their situation as well as deal with an historic land sale and embattled extended family subplots delves between the crushing blows of realisation, (beautifully executed examples by Shailene Woodley and Beau Bridges) and moments of hilarity (Clooney, Bridges and Nick Krause) that will turn in an instant keeping the emotional journey of the characters at the for front of the audiences experience.

Similar to Paynes other work, this bitter sweet combination of tragedy and comedy drives the narrative and allows the characters to slowly reveal their motivations and build the body of understanding and circumstance to the films events. The tightrope that us as the viewer tread between these two camps are also beautifully displayed in the shot construction, bouncing between the confined and bland surroundings of the hospital room and the grand majestic pans and establishing shots of the family's' land plot. There are numerous stunning shots that will echo the 'paradise lost' theme as the characters travel islands of Hawaii, adding the analogy that the family and every member were similar to the archipelago - part of one but forever separate and alone.

The stirring performance by Clooney, taking a step outside his usual area of comfort, is the perfect embodiment of a man far out his depth and ill-equipped to deal with the lesson life is about to teach him let alone prepare and shepherd his family through it. He is masterful in his achievement and without this backbone of a performance we would be greeting a very different film.

The film is an enjoyable and emotion watch, it will lead to a triumph of independent cinema, to challenge the audience's current view or expectation of themselves. But its only failing would be of its overall appeal to a larger, mainstream audience.

Lacking the prosaic and obtuse comedy elements that sit so well with the main studios as well as the grand feel good moment to round off the film and have everyone leave happy. It could also be argued that the film lacks the gravity or force to really challenge the audience. It does convey mixed messages and the overall conclusion or message of the story is open to interpretation.

The film is cleverer and less apologetic to such nuances of Hollywood convention but steers close enough to attract the attention and gaze of many of its flock. The film is well worth a watch and is a worthy award contender on this year's award circuit but may have been overawed by some areas of the critical community.

7/10 The_Frase

New Girl (2011–2018)

fun, unobtrusive comedy that is an easy watch

[6/10 · 3 January 2012]

The show features the trials and tribulations of 3 male friends and a quirky, recently single female (Zooey Deschannel). Deschannel has been enjoying growing success and critical acclaim following her part in '500 days of summer' 2009. Her she is perfect as the anchor of the show, embodying the geek/adorable template exceptionally. And from the pilot onwards we are drawn to her like a moth to the flame.

It's a light hearted, non –serious comedy series that is hit and miss. The more I wanted to enjoy the show the more it seemed to struggle. Throughout the first series there are genuine moments of hilarity that will have you wiping the tears from your eyes. Unfortunately these can become lost in the banal and bland comedy of some of the other scenes. From episode to episode you will find yourself reassessing your opinions on the show and its characters. Daschannel successfully plays between the beauty and the geek in such a natural way we are never sure how to perceive her which also forms the underlying comedic dynamic of the show.

The other characters that share the screen unfortunately sink below par. Damon Wayans Jr's character was a balance between the absurdly arrogant Schmidt (Max Greenfield) and the pessimistic downer that is Mike (Jake M Johnson). But he only features in the opening episode and is soon replaced by Winston (Lamorne Morris) much to our bewilderment. Little in no reference is made to this and Coach is never seen again. Other than very bad test screenings we can only assume that Damon Wayans Jr has jumped ship for bigger fish.

The show is a similar offering that we have seen strewn out over the last few years. We have seen 'Awkward' the high school version, 'Cougar town' the mid-life/divorcée version and here we are offered the middle ground. Out of school, but not yet near marriage the feel of the show is light and quirky with some random but deliberate references. We are often dropped lines concerning recent fashion trends (Jeggings, and 'deep v's') and even the obscure sexual practices that has made the show somewhat of an underground success (For your own education you can look up 'give me the hat' it was certainly new to me) These help keep a youthful sense to the show and keeps the humour aimed towards the twenties demographic.

It's fun, unobtrusive comedy that is an easy watch, especially after a hard days' work. The ever adorable and sexy Daschannel will have most hooked to the show be it for her striking blue eyes or her impromptu dancing/singing/beat boxing. The show could be a lot tighter and more depth is needed for the characters but so far as light hearted comedy goes this should do the trick for the new year months.

Tyrannosaur (2011)

Violent, bleak, transformational brilliance

[9/10 · 19 December 2011]

Paddy Considine's directorial debut has been a widely anticipated event. With his excellent performances throughout his British cinematic career, most notably his work with Shane Meadows, a dark, churning piece of cinema was what we have been expecting.

We have not been let down. Tyrannosaur is as gritty as it is gripping. The setting in a Northern industrial, working class community – the estates of Leeds, creates the imprisoned physical environment for Joseph (Peter Mullen) an alcoholic, self-loathing widower who meets a Christian charity worker (Olivia Coleman) and we are drawn into their troublesome worlds.

The films workings of violence and desperation draws another influence to my mind, which is Gary Oldman's directorial debut 'Nil by Mouth'. Both are lavished in gritty, deglamorised violence. Both have a tendency to stare the darkness in the eye, unlike some audience members (including myself) that will have an undeniable urge to look away. It's a representation of life on the underside, where it often is difficult, dark, testing and sometimes evil in its twists of fate.

The film has a strong link to animalistic representations, an element to which instantly brought Andrea Arnolds award winning short film 'Dog' to mind. The idea of trapped animals and the capabilities of those pushed too far is a powerful and dominating theme.

Needless to say the challenging viewing nature of this film forms the base of its appeal. Its unflinching and unapologetic brutality could be deemed too prosaic for the majority of mainstream cinema goers. You will need to be ready for the challenge to fully take in and be moved by the film, it's not one to watch on a Sunday morning, put it that way.

The direction and acting are the notables in this production. Most notably Olivia Coleman, whose supporting role threatens to overshadow that of Mullen's, if it wasn't for his own exceptional performance. Mullen portrays Joseph in such a way that despite his loathsome qualities he remains human and even relatable, at times when other characters don't.

But it is Coleman's character and performance that really underpins and illuminates the rest of the feature. Her character is an almost polarised opposite in comparison with Joseph however as the plot turns we are exposed to an array of character transformations. It is these that actually help support the minimalistic plot which allows us to focus and be consumed by these iridescent performances.

Considine has excelled himself in his writing and direction, with very few criticisms that could be levelled at each, other than those looking to nit-pick. Whilst somewhat preoccupied with the grim and depressive side of the characters, the film triumphs as it chase's the ray of light at the end of the tunnel. For all its depressing and challenging nature it mirrors the lives it portrays and the personal struggles of the characters, as they keep pushing and fighting. An excellent first feature from Considine and I personally cannot wait for his next offering.

The Wire (2002–2008)

The most powerful and thought provoking TV show ever produced

[10/10 · 18 December 2011]

When I was told that The Sopranos had been beaten to the top of a popular UK TV channel poll by another series I first denied belief but quickly looked to find out why.

The Wire, throughout all its seasons is definitely one of the best television series ever produced. It's the tale of the city of Baltimore, through the eyes of police, drug dealers, dock workers, gangsters, politicians, teachers, judges, lawyers and children.Its excellent writing and acting makes it clear why even such a popular and acclaimed show as The Sopranos was beaten by it.

The series was based on real life experiences of writers David Simon and Ed Burns and this realism forms the main spine of the show. The show depicts of the inner workings of numerous city institutions, each series documenting another facet of city life where law and order and crime and chaos share close a proximity and often overlap. The brilliant writing and acting (numerous members of the cast where Baltimore natives cast due to their similar upbringings/lifestyles of their on screen characters and were previously unknown) is what gives the show its impact. Every second of screen time constructs gripping episode story lines that weep into future series, no lose end is ever left untied and often things that occur which may seem incidental can have huge ramifications on other characters in future episodes.

The unrelenting focus on realism is also one of the main problems people face when entering the world of Baltimore. The use of street slang and specialised language by sections of the community especially the street kids and gang members can be a hard translations for those of us unfamiliar with the Maryland city. But this resistance to add a Hollywood gloss only empowers the show more and distances it from its more mainstream counterparts.

The characters are well written and excellently acted there is not one instance of miscasting. The diverse characters and social situations gives each part of the community its platform and equal importance.

This is true of other shows but few allow such deep and profound bonds to develop between characters and audience. In 'The Wire' each and every character is sacred, you will mourn the loss of those that die and celebrate in the victories of others.

Through-out the entirety of the show scenes of brutal and graphic violence, drug consumption and death are juxtaposed against a dark comedic undertone and a celebration of life.

This show is more than glorification of crime, law and order, its more than the shock for shock value, and its more than gritty realism. It's a tale of a community en mass, a social commentary of the effect of the failed war on drugs on the inner cities of America, the social corruption and inequalities that derive from it and those who are battling the tide against it.

If your still wondering if the show is going to be for you then watch the opening episodes and if you avoid addiction then you probably weren't paying attention, it is that good.

We Need to Talk About Kevin (2011)

Gripping tale of guilt, grief and shame

[8/10 · 15 December 2011]

'We need to talk about Kevin' is a tale of guilt, grief and shame of a mother (Tilda Swinton) whose son Kevin (Rock Duer, Jasper Newell and Ezra Miller) has committed an atrocious massacre at his school. Based on the acclaimed novel by Lionel Shriver (2003) and directed by Lyne Ramsey who has been missing from the movie horizon of recent years, a powerful and excellently constructed piece of cinema is upon us.

The storey encompasses the mothers' outlook on life before, during and after the event. The use of a non-linear time frame allows the film to be constructed in such a way that to those unfamiliar with the original text will be led in one direction of thought as to the characters progression only for the film to turn on its heels and lead you in another direction.

The casting and acting is of paramount importance in a film where the primary relationship between two characters forms the basis of context for the others. Swinton offers an excellent drawn out, confused, guilt ridden mother whereas Ezra Miller as Kevin gives us an unflinching look into the abyss of a sociopath.

The casting of as the father John C. Reilly for me was the only flaw, simply due to his recognisable and somewhat comical appearance, which when compared to the subtlety and non-obtrusive nature of the remaining cast and extras stands out although his performance was strong.

Ramsey's use of symbolism and carefully inserted mise en scene gives those with a more discerning eye glimpses of the details of the emotional frailties evident in the novel but which are often so hard to convert when any literary text makes the transformation into the medium of film, we all know the saying 'the book was much better'. But here the both Lynne Ramsey and Roy Kinnear develop an excellent screen play that will satisfy both those who have read the book and those who have yet to. The sequencing of opening shots in most scenes allows a strong sense of atmosphere to develop even before the characters have entered the scene or dialogue has even commenced.

The overall impact of the film rides through peaks and troughs. With some sections brilliantly gripping and others making you wish away the remainder of the film. In general the film does carry a strong and unsettling momentum until the final credits. For those looking for an action soaked gore fest will be left waiting as will those looking for the docudrama styled film similar to Gus Van Sants' Elephant (2003). The film won't be for all or maybe even for that many, but those who enjoy carefully layered cinema creations will be drawn to this title like a moth to a flame and with good reason.