12 Years A Slave

To many unacquainted with the work of Steve McQueen, 12 Years A Slave may seem to be another lengthy drama film with little to say or do than parade about in front of film academies in hopes of snatching up awards. Such a critique could be made of Tom Hooper's 2010 Oscar wining The King's Speech, which is by all means a well made and pleasing film, but distinctly lacking in edge or innovation. If however you have seen either of McQueen's previous feature length films, Hunger and Shame,  you will have much greater expectations.
12 Years A Slave does not shy away from the horrors of Solomon Northup's experience, but instead subjects the audience to levels of visceral brutality. Early in the film, shortly after Solomon's capture, there is torture scene in which Solomon (Chiwetel Ejiofor) is being beaten by one of his kidnappers with unrelenting malice. With each sharp loud crack of a panel on Solomon's back, followed by anguished cries of torment delivered by Chiwetel Ejiofor with haunting authenticity, it is hard to blink back tears of both empathy and fear. It is not until the next scene in which we see Solomon's bloodied and ripped shirt do we have any indication of his physical injury, leaving the audience to imagine the true extent. Such scenes make 12 Years A Slave more frightening than most 'horror' films and, unlike other representations of slavery in the 1800s, is unflinching in the depiction of the reality of some people's lives. Although, through McQueen's honed directional skills there is an unmistakable beauty to the film, from the lingering shots of the southern American landscape to the elegant lighting of scenes, which offer visual solace in contrast to the harrowing treatment of the enslaved people.
Ejiofor's performance is powerful and moving, he utilises the freedom offered by McQueen's trusting direction to play out the subtle emotions of Solomon to sensational effect. It is Solomon's underlying strength of spirit that make this a genuinely compelling film. Even as Solomon is tested and his character is subsequently effected by his many trials there remains his latent determination not to let it get the better of himself. Juxtaposed with sadistic antagonist Edwin Epps a tyrannical slave owner, played strikingly by Michael Fassbender, whose erratic and violent behaviour incites great fear in his workers. The scenes between Ejiofor and Fassbender prove to be the most gripping making it easy to forget you are watching two actors rather than two real people. The character of the victimised and childlike Patsey will serve as a fantastic break through role for the unknown Lupita Nyong'o. Nyong'o plays Patsey well with an innocence acting as a shield to the growing threat of Edwin Epps who views her as his prized possession. Like Solomon audiences will feel a sympathetic desire to protect Patsey that is ultimately futile.
12 Years A Slave  is able to illicit an emotional response without exploiting its content for dramatic purposes. This is aided by the complementary score of the masterful Hans Zimmer. One scene in particular which sees Paul Dano's creepy violent character rise into a murderous temper accompanied by an ascending throng of electrical guitars. The music consistently plays to the tone of scenes without overpowering them.
A film that collaborates the adept skill of all involved, executing this true tale with the great virtuosity it deserves. A triumph of a film that should not be underestimated.  

Gravity: An IMAX Experience

I waited a while before seeing gravity as I was initially put off by the trailer. It seemed like a lot of intense spinning around in space and for ninety minutes that is something I don't think I could handle. However, after hearing some of the buzz, out of curiosity I decided to place my trust in Alfonso Cuaron (a favourite director of mine) and chose the full on 3D IMAX viewing. This choice was greatly rewarded as Gravity, it turns out, is a true visual spectacle, the 3D fitting seamlessly to the style of the direction enhancing the cinematic experience rather than detracting from it as gimmicky use of 3D shamelessly does in countless other big budget films.
While the plot is basic, Gravity is a powerful survivor story from the perspective of the lonely Dr Ryan Stone (Sandra Bullock) who in highly extreme circumstances must find the will to keep going despite the rising odds. While Ryan is not an overly complicated character, Bullock plays her well hitting the right emotional soft spots easily winning audience sympathies. Oscar wise, Bullock's performance is unremarkable and Cate Blanchett in Blue Jasmine is still my favourite. Bullock's character lacked the depth and distinction that Blanchett's Jasmine did, however it is this almost 'every woman' type character that makes Ryan so appealing and engaging to mainstream audiences. A safe and simple character that is probably what this technically complex film required, in a landscape of CGI Bullock provides a very human center.
George Clooney plays the the typical charismatic silver tongued fox. A trademark Clooney role, providing elements of warmth and charm in places to the cold isolation of space and offering hope to the protagonist.
However the key facet of this film is the incredible visuals, from the steamed visor of Ryan's helmet to the ethereal vibrant diversity or the distant earth. Customarily I'm not a fan of overly CGI'd films but like the use of 3D there is a beautiful simplicity, present also in the direction of Alfonso Cuaron's other films. The musical score compliments the visuals perfectly carrying with it tension and emotion adding power and a certain weight to the film.
It is only in its crowd pleasing banality that this film fails with its lack of surprise and innovation. Understandably a film with a budget of one hundred million dollars can't particularly afford to take 'risks'. However, sadly, it is this lack of boldness that prevents the film from reaching true brilliance. While Gravity may not push boundaries in the way of narrative and at times conforms to certain Hollywood cliches it is an honestly enjoyable film with an uplifting message.
Ultimately this film is an experience and one best consumed in the cinematic absorption that is the IMAX. Albeit Gravity was the first time I saw a film at the IMAX, its monolithic concave screen and multitude of speakers are the perfect recipe for full movie immersion.
Gravity is a stunning and gratifying film that I highly recommend you see at the cinema before it is too late.

American Hustle

In the wake of the awards season American Hustle must be one of the most overly hyped up films out there. That's not to say this isn't a good film, it is, and it certainly makes for an enjoyable afternoon just don't expect too much.
The plot is simple enough, Bale plays life long con man Irving Rosenfeld still clutching onto dreams of success with his mistress and business partner Sydney Prosser (Amy Adams) until one day they are caught out by rookie FBI agent Richie DiMaso (Bradley Cooper). The duo hatch a deal with DiMaso and promise to help him entrap crooked politicians so that they can be pardoned.  Plain but acceptable enough plot if dressed as well as this film is, however as the tensions of the film gradually rise there is a building expectation that the film will deliver in a grand climax or twist that it never does. The tone is bitter sweet throughout, David O. Russell showing both the ugliness and beauty of his characters in an almost fearless way that most mainstream directors gloss over. Yet it is this saccharine tone throughout the telling of the story that will leave one unsatisfied.
Bale acts as a skilled backbone to the film, as the most seasoned of the main cast in his profession his dedication and ability to inhabit a role are undeniable. Despite being the protagonist Rosenfeld is a hard man to side with, weak in his convictions and proficient only in his experience of the con world with his 'from the feet up' approach. Rosenfeld's only saving grace being that of his love to his adopted son. Bale works with what he is given but it isn't an awful lot, his character's narrative somewhat overshadowed by the mysterious Sydney or the developing and open DiMaso. The chemistry of Adams and Bale is clear and Adams wears the the many facets of Sydney's character well but a poor English accent is one always hard to excuse. Adams' character irritates rather than leads, her motives in constant flux Sydney is hard to read making the strength of Adams' performance of considerable debate.
It is instead Jennifer Lawrence who sparkles on screen as Rosenfeld's neglected and ditsy wife. She is a loose canon adding tension to the plot and offering well needed comic relief to what would otherwise be a dry film. And to the kindly Mayor Carmine Polito played charmingly by Jeremy Renner, to whom sympathies ultimately fall, being one of few with pure intentions.
This is a film that on the surface may appear to be more than what it is, while it is a great portrayal of skill and has the ability to entertain,  it fails to reach the heights it could have by establishing a tone neither dark and dramatic nor more comedic and exciting. So, like the unreadable character of Sydney Prosser, American Hustle is overall irresolute in its intentions failing reward the audience with any sense of fulfilment. Then again perhaps this was the intention, after all kids crime does not pay and neither will I to see this film again.