Year: 2011
Director: Tomas Alfredson
Screenplay: Bridget O'Conner, Peter Straughan
Starring: Gary Oldman, Colin Firth, Tom Hardy, John Hurt, Toby Jones, Mark Strong, Benedict Cumberbatch
Synopsis is here:
At one point in the movie Kathy Burke's supporting character mentions that the second world war were happier times because at least then you were proud to be English. Burke's small almost throw away statement is one the solidarity she felt at the time of war, now lost due to an alleged mole at the head of the "circus" (MI6). This for me is the crux of Tinker Tailor Solder Spy; a film which, almost ironically comes out at a peak of general mistrust from all around Britain.
This film adaptation of John La Carre's novel is a complex and complicated thriller, and what drives it isn't so much who the much talked about actually mole is (although I'm happy I didn't guess it straight away), but more on how loyalty is brought and corrupted. The film's seemingly low key climax is one that displays how far trust has been stretched for the wish for control. The film's final montage of the stellar cast (a beautiful mixture of both big and small screen actors) shows how deep the scars have been inflicted on these people.
Alfredson's film works so well because it take time over showing how deeply isolated the spy game is. Close relationships are broken, belittled and bargained for, information is called gold dust for good reason and moral compasses are as murky as the films cold, drab colour scheme that Alfredson utilises to enhance the tone of the film. The film is literally as grey as the the shades these characters dwell in.
Let's be very clear about this, this is no Bond or Bourne movie. The lines are never drawn out and the information we receive is drip feed to us. Alfredson demands that we hold attention for this movie and those who do will be rewarded. Dialouge is often coded and it's important to see the slight changes within a characters face rather than the words they speak. The film never speaks down to you, and Alfredson is happy to tell the films story within the visuals and the body language of the characters. The pinnacle of this lies in the performance of Gary Oldman who at 53 plays George Smiley as if he's at least 12 years older. We discover everything we need to know from the eyes behind the thickly rimmed spectacles. One of the films highlights is superbly crafted monologue by Oldman in which his brief meeting with the mysterious Karla highlights all the emotion the crackles beneath the surface. In watching the brief recollection we see that it's how the story is told (pinpointing the exact moments of loss both professionally and emotionally) that really makes what is said hit home as hard as it does. The film is littered with such moments. Vast amounts of information communicated not by trite dialogue, but solemn glances and knowing looks.
I loved this movie not only because of its brilliant cast and delicately sombre tone, but its an eye for detail and a wish to let said details envelop around you. The film makes sure you know it's two hours long and makes sure that every character is accounted for. The depth we manage to gain from even one scene of some the supporting roles is at times astonishing. Those who rely on the summer sun blockbuster guns, girls and car chases will be sorely disappointed that Commissioner Gordon doesn't do any physical ass kicking here. But those looking for an adult feature will find much to gain from it. The paranoia lies within the characters as thickly as the dusty old rooms they inhabit. The relationships and trust these people have worked so hard to build is on a constant knife edge. Despite being a period piece (Early 70's) the understands that even now in the age of information it's all about holding the right cards. Everyone here has poker faces to die for.
Showing posts with label Mystery. Show all posts
Showing posts with label Mystery. Show all posts
Friday, 16 September 2011
Friday, 29 October 2010
Review: Catfish
Year: 2010
Director: Ariel Schulman, Henry Joost
Starring: Ariel Schulman, Henry Joost, Nev Schulman
WARNING: I don't mention explicit plot moments, however, my review may reveal more than one may like to know about the movie.
An old work colleague passed away last year, and a friend asked me and others who knew her to change our facebook profile picture to the last one she had in her memory. It's a small action, but an affectionate one and many of us obliged. A few days into this I received a facebook message from an American who lets just say, wanted to "get to know me better". It doesn't help that my first name is Leslie despite the masculine spelling and my middle name being Byron. A brief e-mail exchange soon had the horny youngster was back on his way. Possibly off to look for more "sexi gals" or whatever.
Now if my mindset was a more dubious one, I could have easily seen how deep the rabbit hole could have been. I mean, my privacy status on FB is high so I could have easily toyed with this guy by merely sending messages pretending to be a girl.
This leads me to the main aspect of Catfish, a film in which a privileged New York photographer (Nev) develops a correspondence with an 8 year old girl (Abby) on facebook. She likes one of his photos and asks if she can paint it. As odd as this sounds right now, it's ok because Nev is also contacted by Abby's mum Angela. Nev accepts and pretty soon he begins a pleasant and harmless internet relationship which evolves around their respected artforms. Nev is then introduced over facebook to Abby's older sister Megan and a more intimate relationship develops. However, they have yet to meet...
Catfish was the most talked about documentary at Sundance and it's misleading trailer hints that the films final 40 minutes are something much more sinister. The outcome however, is a much more heartfelt affair. The deceptive marketing actually works towards Catfish's advantage, as does all the "is it real" talk that some more disapproving critics have been landing at it. While I can accept certain moments have a certain "unauthentic" feel, and the frightening amount of tech that should reveal the truth much quicker than it takes, like my aforementioned story in the first paragraph it becomes clear that the dream over comes the reality. Like joining a cult, we believe we're far too intelligent to fall for anything like that and forget that we are actually more susceptible. I do wonder how many people will be quick to debunk this but not look at their favorite reality shows with the same amount of skepticism.
For me Catfish is all about the story itself and whether or not the film is "true" it manages to encompass the fears and worries that social media has brought, and tells us in an disturbing, funny and heart felt manner. The Social Network tells us that one of the most powerful tools to impact our social landscape since the telephone was conceived by someone deeply unsociable. Catfish expands on this showing us in it's low-fi approach how slippery our "second personalities" have now become. We can connect to people far easier than ever and these personas not only allow to do and say things we'd never dream of in reality but we do so with an alarming disconnect. The final scenes show us two people who would probably never speak to each other in other circumstances coming together and remind us of how important and powerful face to face talking can be.
Note: The screening I went had a Q&A session with Henry Joost. I asked the question on if he values human connections even more. He responded with "Definitely, this is what the film is all about". It's also important to know that while many who have been using the internet are aware of many elements within Catfish. The film clearly notes with it's constant zippy CGI imagery that now more people use the internet and with the tech growing rapidly and those still in the dark are not that likely to look as smugly as our net savvy counterparts. Think of it like all those mothers who are still sending people chain mail.
Director: Ariel Schulman, Henry Joost
Starring: Ariel Schulman, Henry Joost, Nev Schulman
WARNING: I don't mention explicit plot moments, however, my review may reveal more than one may like to know about the movie.
An old work colleague passed away last year, and a friend asked me and others who knew her to change our facebook profile picture to the last one she had in her memory. It's a small action, but an affectionate one and many of us obliged. A few days into this I received a facebook message from an American who lets just say, wanted to "get to know me better". It doesn't help that my first name is Leslie despite the masculine spelling and my middle name being Byron. A brief e-mail exchange soon had the horny youngster was back on his way. Possibly off to look for more "sexi gals" or whatever.
Now if my mindset was a more dubious one, I could have easily seen how deep the rabbit hole could have been. I mean, my privacy status on FB is high so I could have easily toyed with this guy by merely sending messages pretending to be a girl.
This leads me to the main aspect of Catfish, a film in which a privileged New York photographer (Nev) develops a correspondence with an 8 year old girl (Abby) on facebook. She likes one of his photos and asks if she can paint it. As odd as this sounds right now, it's ok because Nev is also contacted by Abby's mum Angela. Nev accepts and pretty soon he begins a pleasant and harmless internet relationship which evolves around their respected artforms. Nev is then introduced over facebook to Abby's older sister Megan and a more intimate relationship develops. However, they have yet to meet...
Catfish was the most talked about documentary at Sundance and it's misleading trailer hints that the films final 40 minutes are something much more sinister. The outcome however, is a much more heartfelt affair. The deceptive marketing actually works towards Catfish's advantage, as does all the "is it real" talk that some more disapproving critics have been landing at it. While I can accept certain moments have a certain "unauthentic" feel, and the frightening amount of tech that should reveal the truth much quicker than it takes, like my aforementioned story in the first paragraph it becomes clear that the dream over comes the reality. Like joining a cult, we believe we're far too intelligent to fall for anything like that and forget that we are actually more susceptible. I do wonder how many people will be quick to debunk this but not look at their favorite reality shows with the same amount of skepticism.
For me Catfish is all about the story itself and whether or not the film is "true" it manages to encompass the fears and worries that social media has brought, and tells us in an disturbing, funny and heart felt manner. The Social Network tells us that one of the most powerful tools to impact our social landscape since the telephone was conceived by someone deeply unsociable. Catfish expands on this showing us in it's low-fi approach how slippery our "second personalities" have now become. We can connect to people far easier than ever and these personas not only allow to do and say things we'd never dream of in reality but we do so with an alarming disconnect. The final scenes show us two people who would probably never speak to each other in other circumstances coming together and remind us of how important and powerful face to face talking can be.
Note: The screening I went had a Q&A session with Henry Joost. I asked the question on if he values human connections even more. He responded with "Definitely, this is what the film is all about". It's also important to know that while many who have been using the internet are aware of many elements within Catfish. The film clearly notes with it's constant zippy CGI imagery that now more people use the internet and with the tech growing rapidly and those still in the dark are not that likely to look as smugly as our net savvy counterparts. Think of it like all those mothers who are still sending people chain mail.
Wednesday, 13 October 2010
Review: Winter's Bone
Year: 2010
Director: Debra Granik
Screenplay: Debra Granik, Anne Rosellini
Starring: Jennifer Lawrence, John Hawkes, Kevin Breznahan
Synopsis is here
There's a small but telling moment in Debra Granik's Winter Bone, in which the films protagonist peeks into one of the classrooms she used study, and spies a group of children learning how to look after babies. The look on her face is a knowing one. While the kids hug their dolls and enjoy the make believe, Ree Dolly (a towering performance from Jennifer Lawrence) has already faced the reality. She's not at all envious. She just knows that what's going on in the classroom isn't her life anymore.
Like Andrea Arnold's wonderful Fish Tank, Winter's Bone is a film about strong young women. Both are willing to make tough choices, accept their mistakes, and fight against their harsh realities to realise their individuality. With Julia Roberts gaining some "less than inviting" reviews, it's once again refreshing to find a film in which has women finding themselves through their moral choices and inner strength rather than shoes and chisel jawed hunk accessories. So while other teens are debating over Team Edward and Jacob, girls like Ree Dolly are; to steal a term from The Road: carrying the fire.
Flames are unfortunately; the last thing you will find in this films harsh winter setting. Captured beautifully by Michael McDonough (the look alone makes you feel cold in the auditorium); the films grim backdrop, parallels the bitterness of the characters Ree encounters. Granik and Rosellini's screenplay highlight this with their sparse uncomplicated script. Watching the piercing glares from the so-called "family" that Ree tussles with, you realise that it's what is not said, that gives the film such an unsettling vibe. The ruined landscape only helps enhance the foreboding atmosphere and heightens the mystery surrounding her missing father.The plot of the film also has a scant feel to it, but this only makes the film even more provocative, as we watch the characters way of life, their false truths and the antagonists damaged sense of honor provide a huge amount of emotional weight.
In the center of this, is a mesmerizing display by Jennifer Lawrence who plays a girl whose clearly had to rise three people before the age of consent and will do anything to keep the family whole. Lawrence gives Ree a steely selflessness stoic heroism that cuts through the cold surroundings and is hard to ignore. Much has been said about Lawrence, but something also has to be said about the stunning display by John Hawkes whose makes sure that it's the expressions that make the impressions. There's an amazing scene involving Hawkes and a police sheriff that shows that the ice doesn't just rest on the ground.
There's true heroism within the film, displayed by a character needing to do right in order to survive. You see her fear and worry but her spirit and will to fight through the family secrets is remarkable to watch. Winter's Bone was a joy to watch from it's quiet opening moments, to it's subtly optimistic ending. Great Viewing.
Director: Debra Granik
Screenplay: Debra Granik, Anne Rosellini
Starring: Jennifer Lawrence, John Hawkes, Kevin Breznahan
Synopsis is here
There's a small but telling moment in Debra Granik's Winter Bone, in which the films protagonist peeks into one of the classrooms she used study, and spies a group of children learning how to look after babies. The look on her face is a knowing one. While the kids hug their dolls and enjoy the make believe, Ree Dolly (a towering performance from Jennifer Lawrence) has already faced the reality. She's not at all envious. She just knows that what's going on in the classroom isn't her life anymore.
Like Andrea Arnold's wonderful Fish Tank, Winter's Bone is a film about strong young women. Both are willing to make tough choices, accept their mistakes, and fight against their harsh realities to realise their individuality. With Julia Roberts gaining some "less than inviting" reviews, it's once again refreshing to find a film in which has women finding themselves through their moral choices and inner strength rather than shoes and chisel jawed hunk accessories. So while other teens are debating over Team Edward and Jacob, girls like Ree Dolly are; to steal a term from The Road: carrying the fire.
Flames are unfortunately; the last thing you will find in this films harsh winter setting. Captured beautifully by Michael McDonough (the look alone makes you feel cold in the auditorium); the films grim backdrop, parallels the bitterness of the characters Ree encounters. Granik and Rosellini's screenplay highlight this with their sparse uncomplicated script. Watching the piercing glares from the so-called "family" that Ree tussles with, you realise that it's what is not said, that gives the film such an unsettling vibe. The ruined landscape only helps enhance the foreboding atmosphere and heightens the mystery surrounding her missing father.The plot of the film also has a scant feel to it, but this only makes the film even more provocative, as we watch the characters way of life, their false truths and the antagonists damaged sense of honor provide a huge amount of emotional weight.
In the center of this, is a mesmerizing display by Jennifer Lawrence who plays a girl whose clearly had to rise three people before the age of consent and will do anything to keep the family whole. Lawrence gives Ree a steely selflessness stoic heroism that cuts through the cold surroundings and is hard to ignore. Much has been said about Lawrence, but something also has to be said about the stunning display by John Hawkes whose makes sure that it's the expressions that make the impressions. There's an amazing scene involving Hawkes and a police sheriff that shows that the ice doesn't just rest on the ground.
There's true heroism within the film, displayed by a character needing to do right in order to survive. You see her fear and worry but her spirit and will to fight through the family secrets is remarkable to watch. Winter's Bone was a joy to watch from it's quiet opening moments, to it's subtly optimistic ending. Great Viewing.
Friday, 1 October 2010
Review: Exam
Year: 2009 (2010 UK Theatrical Release)
Director: Stuart Hazeldine
Screenplay: Simon Garrity, Stuart Hazeldine
Starring: Colin Salmon, Jimi Mistry, Luke Mably
"I don't know if I liked that movie" says my girlfriend before she departs my house. I know the feeling. It's been over an hour since the credits of Exam rolled and I'm still undecided,.. Is it shot well? Yes. It is uniformly smart in it's appearance. Has it got a interesting premise? Yep. With the overall film feeling like a nod to the Canadian sci-fi flick Cube, the film has got a hook that could more than reel in a few genre fans. What about conflict? Sure. It has some moments of tension and the film does it's best with its one room local. But what was it that distanced me so much from this film not to embrace it enough even for thinking about a second viewing.
My answer is investment. As the film's plot delves deeper and deeper, I found myself becoming more frustrated. The stakes are high, but the characters are just too stoic, too unapproachable, 2-dimensional. It's hard to care about any of them as Hazeldine's film paints every character the same shade of grey. At no point do you feel one of the characters tugging at your emotions, or if they do, it's not enough for you to feel good/bad if your feeling of the outcome is right/wrong. As the characters flip flopped between being good or bad, at no point did I find myself actually caring about the outcome of these people. The loudest character is played ably enough by Luke Mably but the character is a prick, and not even a charming one at that.
I'd love to say more about the acting, but the combination of stiff dialogue and little known actors (expect 2 fairly standard displays by Colin Salmon and Jimi Mistry) do nothing to really win me over, and it's essential in a film like this to have your thoughts and apprehensions pulled all over the place by the characters actions. The lack of this tug of war game allows the film to coast on rails from it's eyebrow raising beginning when you hear all the rules, to the eventual outcome. In a film like this where all the characters are labeled by their most basic aspects of their character (the black guy is called black etc.) why wasn't more of this brought up to create a sense of tension? It could have been possible.
Unfortunately, there isn't enough in Exam for me to warrant a recommendation for everyone other than those who are really into those oddball features you wander past while looking for something else. The interest within the actual film is almost the same level as when you pick up the cover, scan the back, shrug and replace.
Director: Stuart Hazeldine
Screenplay: Simon Garrity, Stuart Hazeldine
Starring: Colin Salmon, Jimi Mistry, Luke Mably
"I don't know if I liked that movie" says my girlfriend before she departs my house. I know the feeling. It's been over an hour since the credits of Exam rolled and I'm still undecided,.. Is it shot well? Yes. It is uniformly smart in it's appearance. Has it got a interesting premise? Yep. With the overall film feeling like a nod to the Canadian sci-fi flick Cube, the film has got a hook that could more than reel in a few genre fans. What about conflict? Sure. It has some moments of tension and the film does it's best with its one room local. But what was it that distanced me so much from this film not to embrace it enough even for thinking about a second viewing.
My answer is investment. As the film's plot delves deeper and deeper, I found myself becoming more frustrated. The stakes are high, but the characters are just too stoic, too unapproachable, 2-dimensional. It's hard to care about any of them as Hazeldine's film paints every character the same shade of grey. At no point do you feel one of the characters tugging at your emotions, or if they do, it's not enough for you to feel good/bad if your feeling of the outcome is right/wrong. As the characters flip flopped between being good or bad, at no point did I find myself actually caring about the outcome of these people. The loudest character is played ably enough by Luke Mably but the character is a prick, and not even a charming one at that.
I'd love to say more about the acting, but the combination of stiff dialogue and little known actors (expect 2 fairly standard displays by Colin Salmon and Jimi Mistry) do nothing to really win me over, and it's essential in a film like this to have your thoughts and apprehensions pulled all over the place by the characters actions. The lack of this tug of war game allows the film to coast on rails from it's eyebrow raising beginning when you hear all the rules, to the eventual outcome. In a film like this where all the characters are labeled by their most basic aspects of their character (the black guy is called black etc.) why wasn't more of this brought up to create a sense of tension? It could have been possible.
Unfortunately, there isn't enough in Exam for me to warrant a recommendation for everyone other than those who are really into those oddball features you wander past while looking for something else. The interest within the actual film is almost the same level as when you pick up the cover, scan the back, shrug and replace.
Saturday, 17 April 2010
Review: The Ghost (A.K.A The Ghost Writer)
Year: 2010
Director: Roman Polanski
Screenplay: Robert Harris, Roman Polanski
Starring: Ewan McGregor, Olivia Williams, Kim Cattrall, Pierce Brosnan
Synopsis is here
Reviews of this movie from some of my usual haunts have been full of praise for this movie. Lots of talk of metaphors and likening to Hitchcock as well as the usual cries of POLANSKI IS BACK! However throughout this plodding, dull film, there was a voice in my ear whispering: "If this wasn't Polanski, would all this gushing be heaped upon this movie?" This niggle got louder and louder until the films final scene which will be considered genius by fans and pointless by philistines such as my self.
However with it's lethargic pace and frustratingly boring characters, The Ghost did nothing to even ENGAGE me let alone entertain me. Despite having a story that should be full of intrigue, I was left with a bog standard thriller filled with dubious plot moments and listless characters who initiate jarring conversations. The scenes aren't awkward in the way they should be in a movie like this, they feel unfinished, as if the takes used weren't the best ones filmed. This continues throughout the movie giving the movie and uneven stiffness that had me at odds with everyone in the movie. It's obvious why McGregor's character is called the ghost but as he is also our eyes and ears of this piece why does he seem so uninterested? Polanski's film gives us nothing in this film to invest in. There's hints towards more successful endeavors (The Tenant, Rosemary's Baby et all) but no point do we feel the tightening grip that features in those earlier films.
The narrative is no better. Like Chinatown we have a character that goes for the money and stays for the mystery but features little or no involvement. Plot points are telegraphed from far, twists are not only late coming, but unsurprising and throughout your left at an arms length distanced from the story. Bad times from the man who turned New York City into a satanic tomb for Mia Farrow. In no way did I feel involved in what was going on and nor did it seem to matter and while I'm not looking for a cliched car chase or explosion to grab my attention, I was more than a little miffed that none of the films talk gripped me. The film is also a little insulting with some of the films moments of plot. Not to ruin the film on purpose but, considering how sensitive the material is...how often is this man left alone?
Performance wise, the film varied from dead eyed (McGregor), to miscast (Cattrall). Other displays fared better; Brosnan and Williams are high points, but all in all the there wasn't really anything to write home about. The same can be said from the films drab visuals which did as much to isolate me as a viewer as the characters relationships.
The Ghost is full of nods to the filmmakers earlier works but unfortunately the whole film feels Polanski-lite to me. It's a film that did little to excite or involve me in the slightest. A film I expected more from but gained nothing out of it. Philistine I may be, but at least this philistine has a copy of Chinatown at home to enjoy.
Director: Roman Polanski
Screenplay: Robert Harris, Roman Polanski
Starring: Ewan McGregor, Olivia Williams, Kim Cattrall, Pierce Brosnan
Synopsis is here
Reviews of this movie from some of my usual haunts have been full of praise for this movie. Lots of talk of metaphors and likening to Hitchcock as well as the usual cries of POLANSKI IS BACK! However throughout this plodding, dull film, there was a voice in my ear whispering: "If this wasn't Polanski, would all this gushing be heaped upon this movie?" This niggle got louder and louder until the films final scene which will be considered genius by fans and pointless by philistines such as my self.
However with it's lethargic pace and frustratingly boring characters, The Ghost did nothing to even ENGAGE me let alone entertain me. Despite having a story that should be full of intrigue, I was left with a bog standard thriller filled with dubious plot moments and listless characters who initiate jarring conversations. The scenes aren't awkward in the way they should be in a movie like this, they feel unfinished, as if the takes used weren't the best ones filmed. This continues throughout the movie giving the movie and uneven stiffness that had me at odds with everyone in the movie. It's obvious why McGregor's character is called the ghost but as he is also our eyes and ears of this piece why does he seem so uninterested? Polanski's film gives us nothing in this film to invest in. There's hints towards more successful endeavors (The Tenant, Rosemary's Baby et all) but no point do we feel the tightening grip that features in those earlier films.
The narrative is no better. Like Chinatown we have a character that goes for the money and stays for the mystery but features little or no involvement. Plot points are telegraphed from far, twists are not only late coming, but unsurprising and throughout your left at an arms length distanced from the story. Bad times from the man who turned New York City into a satanic tomb for Mia Farrow. In no way did I feel involved in what was going on and nor did it seem to matter and while I'm not looking for a cliched car chase or explosion to grab my attention, I was more than a little miffed that none of the films talk gripped me. The film is also a little insulting with some of the films moments of plot. Not to ruin the film on purpose but, considering how sensitive the material is...how often is this man left alone?
Performance wise, the film varied from dead eyed (McGregor), to miscast (Cattrall). Other displays fared better; Brosnan and Williams are high points, but all in all the there wasn't really anything to write home about. The same can be said from the films drab visuals which did as much to isolate me as a viewer as the characters relationships.
The Ghost is full of nods to the filmmakers earlier works but unfortunately the whole film feels Polanski-lite to me. It's a film that did little to excite or involve me in the slightest. A film I expected more from but gained nothing out of it. Philistine I may be, but at least this philistine has a copy of Chinatown at home to enjoy.
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