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.

Trouble stirs in Middle Earth

In the past week or so certain scandals have arisen concerning the release of The Hobbit this December. Like other Ringers or Tolkienites this release date is one that I have been anticipating for years. The novel being my favourite work of Tolkien’s as it captures a playful and magical tone that dies towards the end of The Lord of the Rings. However recent headlines may prove damaging to the reputation of the franchise.

Claims of animal cruelty occurred when PeTA (People for the Ethical Treatment of Animals) were informed of 27 animals having died where the animals were residing off set. Peter Jackson denies these claims stating that extraordinary care was taken in the protection of the animals and until further evidence is provided I believe him. PeTA have called for Jackson to use only CGI to create animals in his films as opposed to the 50/50 split of real animals and CGI now. However, no matter how good graphics are, they are still that, personally I prefer to see ‘real’ animals. Unless these claims can be proven I don’t see why animals can take part in film if treated caringly so.In more recent news the Tolkien Trust are suing Warner Bros over breaches of Lord of the Rings licensing. The original contract states that the production company is only allowed to create physical merchandise such as action figures and t-shirts. However said contract was created in a time before the rise of computer and internet technology. The Tolkien Trust has previously looked over exploitations of the contract; that is until a gamboling internet game designed using characters and affiliates of the Lord of the Rings franchise caught their attention. They claim that associating Tolkien’s works with such games is damaging to the franchise and against the message of good will which the novels present. And I agree with this, gamboling is risky and designed to take people’s money and make them addicted to losing. Using Lord of the Rings to promote this is will have negative effects. The Tolkien Trust is suing Warner Bros for $80 million dollars, but currently no settlement has been reached. This figure however, isn’t a very big cost compared to the profits they make. What may be more costly is the restoration of their reputation and relationship both concerning fans and the Tolkien Trust.
But I for one won’t be letting this stop me from seeing Martin Freeman bring beloved Bilbo to life come the opening day.

Shut up and...

Drive first caught my attention whilst I was watching the BAFTA’s earlier this year. Although it did not win the best film award for which it was nominated I was interested enough to borrow it from LoveFilm.

The opening sequence was captivating and I felt that excited thrill of watching what I feel is a truly great film. The combination of point of view shots from in the car, the retro electric theme music and the stylish city establishing shots reminded me of playing GTA: Vice City. The music is some of my favourite of any film I’ve watched and is used effectively capturing the tone of a scene. I was never particularly attracted to Ryan Gosling until I witnessed him in this role (and yes I realise there is an accidental theme of attractive actors in these posts- see Logan Lerman and Joseph Gordon-Levitt below) but wow. Gosling plays the unnamed anti-hero of the film, who uses little words but each he says you can see him choose carefully. You can see the control in Gosling’s performance and the power that gives his character. Through the film we see the diver’s life grow more complicated as he lets new people into his life. This causes him to break the rules he has set helping those that he cares for.

Drive is in one word stylish. The lighting, music, camera shots, lines, costume everything, is purposeful and refined. Whether or not you will like this film will come down to preference. Drive isn’t a romantic comedy, it is about consequences and the effects of certain actions. Meaning if you help out a guy tied to the mob and it goes wrong, the mob is gunna get mad.

But I love this film having bought the DVD after watching it so I could watch it again and again. It is definitely in the unorganised top ten favourite films list I have in my head hanging out with the likes of Peter Jackson's Lord of the Rings trilogy and Christopher Nolan’s Batman.

And in that moment, I swear we were OVERWHELMED WITH EMOTIONS

Dear friend, if you went to see The Perks of Being a Wallflower and didn’t fall in love with Charlie, you are wrong. In 2010 I read Perks for the first time, it was one of those books were I reread the last few pages when I finished and had to sit for a few moments to collect my thoughts. Once I had done this I made my friends read it too. If you don’t know anything about the story it isn’t a light hearted teen comedy. Following in a similar tradition as The Catcher in the Rye, Charlie writes letters to an anonymous recipient during his turbulent first year of high school.

I had confidence in the film being able to adapt the book well as its author wrote the script and directed the movie. I was right to feel this way as watching the film I found the novel’s tone encapsulated perfectly. The casting, although I was uncertain of some choices (Emma Watson as Sam) worked wonderfully. Watson’s American accent was strong throughout the film and her Sam was brilliant but I would have preferred a less well known face in the role. However, it is Logan Lerman’s Charlie and Ezra Miller’s Patrick are what shall be truly memorable. Miller whose chilling performance as the teen serial killer Kevin in 2011’s We Need To Talk About Kevin is reversed as he plays the loving, eccentric gay best friend of Charlie. Patrick’s playful nature is developed further in the film and as a reader of the book it felt like the Perks world was being expanded, showing its characters in a clearer and refreshing light.  Logan plays Charlie as the gentle and anxious character that he is, hitting the right emotional tones which the audience in turn experience too.

Although I would have like to have see Charlie’s other relationships a little more, such as his friendship with his English teacher, not everything we love in a book can go to screen. The Perks of Being a Wallflower was handled delicately by its author and respecting its fans whilst making the narrative more accessible to newer audience members. Therefore, to me, the film is triumphant and I would easily recommend.

A Face of CGI

Initially I was apprehensive about Looper after reading that Joseph Gordon-Levitt would play a younger version of action movie veteran Bruce Willis. I could not see any possible similarities between the two causing great disinterest in seeing the film. Then realising that JG-L’s face would be altered using CGI I was put off further. (Who would want to change such a wonderful face?) I remember pointing out JG-L in a promo image of Looperand my friends refusing to believe it was him. Aside from petty aesthetic issues, I also feared his performance may have been impaired as an actor. Alas, after hearing raving reviews from respected critics and peers I decided to set my doubts aside and suspend disbelief. After all, the team work of Rian (with an ‘I’) Johnson and Joseph Gordon-Levitt has proved worthy watching. (See 2005 Brick)

After seeing the film I can safely say that my apprehension was misspent, what I should have been worried about was not seeing the film at the cinema before it was too late. JG-L, to quote a friend (and fan of his SNL opening sequence), “is still hot!”. He still posses the same acting power just looking a little Bruce Willisy around the eyes and nose making for good watching.The film itself was a melody of frightening, heartbreaking and blood pumping. One of my favourite scenes is where Bruce Willis storms the scene with gun blazing action. It is these ‘lighter’ elements to the film that stop the darker material from becoming tedious. Rian Johnson’s vision for the future is realistic, cars powered off solar panels and no hover boards. Although the representation of time travel is not my favourite (dynamic timeline), it is used effectively as a narrative device playing on the themes of a loop.Certainly one of my favourite original films in the recent years, most of which have been the works of Christopher Nolan.