Year: 2010
Director: Darren Aronofsky
Screenplay: Mark Heyman, Andres Heinz, John J. McLaughlin
Starring: Natalie Portman, Mila Kunis, Winona Ryder, Vincent Cassel, Barbara Hershey
Synopsis is here
They are usually naive, sometimes obsessive and often talented; Darren Aronofsky's characters are self-assassinating creatures. We feel pity for them as they constantly cry out for help; be it drugs, fatherhood, or even the very source of life itself. The problem is their reclusive characters and obstructive behavior not only block us from helping them, but keeps them on the path of destruction. Aronofsky has explored such people from low budget gritty dramas to high end sci-fi but never before in a horror film setting. Black Swan is his first and for me it may well be his opus.
Once again using the single camera, documentary style utilized before in The Wrestler, the visuals not only detail the brutal and tough preparation that goes into ballet, but the evocative close ups; constantly hint and suggest worry that we can't put our finger on. Aronofsky's lingering close ups of Nina's (Portman) exhausted and fretful face not only highlight the pressure that is placed on her, but also adds tension as Aronofsky encloses the space around Nina. We don't visit that many locations in Black Swan (Nina's strict routine regulates us mostly to her bedroom and the studio) but it's easy to forget this as the film wraps everything so tightly around Nina. Not only do we think that Nina is trapped in her own world but Aronofsky's camera makes sure that we feel the walls are craving in. Of course, these walls are metaphorical. Nina; whose bedroom's is covered in pink wallpaper and cuddly toys, shies away from sexual talk, and is acutely aware of the sexuality of others and doesn't appear to have any friends within the company. She is socially awkward and despite being in her twenties, one is not surprised at her mothers watchful eye over her at all times.
I felt with Nina throughout the entire film; experiencing very punishing routine, stretched muscle and tight joint. But it's not just the claustrophobic cinematography that keeps you close, but also Portman's mesmerizing performance. From when we first see her, it already looks she's on the verge of burnout. A little girl trapped inside the body of a woman. A compelling performance due Portman's ability to balance Nina's drive with her immaturity. Throughout Portman holds a fearful, childlike gaze to everyone she encounters. Answers back are mumbled while childish outbursts slip out by outside stimulus. This encapsulated world is clearly created by a domineering mother (a perfectly cast Barbara "The Enity" Hershey) and Nina's newly gained promotion installs a fight against her, she never felt she had. The relationship between the two; to me, feel very reminiscent of Carrie and Aronofsky's direction carefully teases the psychosexual aspects in many scenes. Portman is also spot on with the films later scenes as psychical pain breaks down into psychological. A good performance becomes a great one as the melding of sexual awaking, social isolation and grueling routine explode into a dazzling, liberating, final display as Swan Lake is preformed.
It is the films final, unbelievably tense third where everything comes together brilliantly. The sound design ramps up and the music becomes thunderous, the visuals that only tricked you slightly in earlier sections come at you in full force to assault you. There are horror tropes that have been used throughout that would come across as cliche in lesser films, but are extraordinarily manipulated here. Arononfsky understands that the best horror comes from very simple and primal things, breaking Nina's natural order with exhaustion, further isolation and of course fear of the other. With all this said; I still haven't mentioned Mila Kunis' sultry performance as Lilly, which illustrates a fear of sex that Nina cannot understand. Nor have I spoke about the devilishly sleazy Thomas Leroy. Cassell clearly relishes a role like this and once again like so many of his displays, plays it pitch perfect.
Stunningly shot and unbelievably tense, I was completely bowled over with Black Swan. Early reviews have mentioned it's audacity and ambition and it's those very things that make it stand out. It's not cookie cutter, it breaks the machine.
Tuesday, 26 October 2010
Sunday, 24 October 2010
Review; The American
Year: 2010
Director: Anton Corbijn
Screenplay: Rowan Joffé
Starring: George Clooney
Synopsis is here
Place the idea of The American into the hands of the next Micheal Bay wannabe and you'd most likely get yet another loud, flashy affair, with little substance and mounds of over the top violence. That's fine an all, but with your Knight and Days, Takers, A-Teams and other wise; it's great to see something like this.
When I say something like this; I mean adult. The American has enough guns and girls for a guy like me, but it has one crucial thing that so many shoot em ups often miss: conscience. It's remarkable at the difference such a thing makes to a film like this. The moment the chilly cold open finishes and you glimpse at the first, unflinching, heavy look on Clooney's face afterwards, you realize, that Anton Corbijn's film wishes to say more than merely "guns kill". The film isn't slapdash with what it wants to say and doesn't care how "long" it has to say it. Some have complained about the pace of the movie, I however was never bothered in the slightest. Mostly, it was due to the fact that I found myself absorbed by this character and his journey.
At it's core, The American has a quite typical "one last job" story that has featured quite heavily in many of the films I've seen this year. The last film with a similar aspects I saw of this ilk was the glossy but vapid Takers (replace one assassin with group of robbers), so one wouldn't be too surprised that I may have had slight reservations. However, what made The American a worthwhile viewing is once again the idea of consequence. The conflict within this hitman as he slowly gains an element of morality within such an amoral space is quietly compelling and admirably handled by Clooney, whose stoic performance is one of his strongest. It's one that's brilliantly at odds with the charming rouge we saw in Up in the air. Once again Clooney looks deeper within himself (see Solaris) to bring out a display that finds meaning in tiny inflictions instead of utilizing his Hollywood smile. His looks and glances does what the sparse dialogue doesn't. The man has range and he shows it once more here.
His performance is enhanced by Corbijn's beautiful use of setting and Martin Ruhe's gorgeous cinematography. They use the Italian landscape with it's vast countryside and tight, enclosed alleyways to capture the conflict that plays out within Clooney. It really is something to watch...if your into that sort of thing.
Those who want more bloodshed and carnage may find themselves frustrated with all the navel gazing, however when the quick and sharp action plays out, it does make an impact. In fact in a cinematic world where we are getting assaulted more and more with such quick fire action set pieces, the film manages to make it's violence gives more of an effect than some of the more shiny affair this year.
The American is a steadily paced story of a crisis of consequence, which teasingly does with not only with very familiar tropes (one last job assassin, tart with a heart love interest, knowing vicar) but does so and in a wonderfully grown up and precise manner. It's a movie where good and bad are merely words and decisions not only matter, they linger in the mind.
Director: Anton Corbijn
Screenplay: Rowan Joffé
Starring: George Clooney
Synopsis is here
Place the idea of The American into the hands of the next Micheal Bay wannabe and you'd most likely get yet another loud, flashy affair, with little substance and mounds of over the top violence. That's fine an all, but with your Knight and Days, Takers, A-Teams and other wise; it's great to see something like this.
When I say something like this; I mean adult. The American has enough guns and girls for a guy like me, but it has one crucial thing that so many shoot em ups often miss: conscience. It's remarkable at the difference such a thing makes to a film like this. The moment the chilly cold open finishes and you glimpse at the first, unflinching, heavy look on Clooney's face afterwards, you realize, that Anton Corbijn's film wishes to say more than merely "guns kill". The film isn't slapdash with what it wants to say and doesn't care how "long" it has to say it. Some have complained about the pace of the movie, I however was never bothered in the slightest. Mostly, it was due to the fact that I found myself absorbed by this character and his journey.
At it's core, The American has a quite typical "one last job" story that has featured quite heavily in many of the films I've seen this year. The last film with a similar aspects I saw of this ilk was the glossy but vapid Takers (replace one assassin with group of robbers), so one wouldn't be too surprised that I may have had slight reservations. However, what made The American a worthwhile viewing is once again the idea of consequence. The conflict within this hitman as he slowly gains an element of morality within such an amoral space is quietly compelling and admirably handled by Clooney, whose stoic performance is one of his strongest. It's one that's brilliantly at odds with the charming rouge we saw in Up in the air. Once again Clooney looks deeper within himself (see Solaris) to bring out a display that finds meaning in tiny inflictions instead of utilizing his Hollywood smile. His looks and glances does what the sparse dialogue doesn't. The man has range and he shows it once more here.
His performance is enhanced by Corbijn's beautiful use of setting and Martin Ruhe's gorgeous cinematography. They use the Italian landscape with it's vast countryside and tight, enclosed alleyways to capture the conflict that plays out within Clooney. It really is something to watch...if your into that sort of thing.
Those who want more bloodshed and carnage may find themselves frustrated with all the navel gazing, however when the quick and sharp action plays out, it does make an impact. In fact in a cinematic world where we are getting assaulted more and more with such quick fire action set pieces, the film manages to make it's violence gives more of an effect than some of the more shiny affair this year.
The American is a steadily paced story of a crisis of consequence, which teasingly does with not only with very familiar tropes (one last job assassin, tart with a heart love interest, knowing vicar) but does so and in a wonderfully grown up and precise manner. It's a movie where good and bad are merely words and decisions not only matter, they linger in the mind.
Monday, 18 October 2010
Review: Never let me go
Year: 2010
Director: Mark Romanek
Screenplay: Alex Garland
Starring: Carey Mulligan, Andrew Garfield, Keira Knightley
Synopsis is here
Never let me go has the issue that I feel most avid book reader fear. Despite being proficient from a technical viewpoint (with a lovely use of muted colours), and having a strong cast that really holds it's own with the delicate material, Never let me go is missing something. I haven't read the book but it feels obvious to me that some of the nuances that Kazuo Ishiguro are missed somewhat. Maybe the films reveal is a bit too quick. perhaps the performances just don't tug on the heartstrings, or the grand themes are all a tad too subtle on screen, I'm not sure.
Still, there is a lot to enjoy in this taut and restrained piece. Like other good sci-fi, Never let me go is as much about the human condition as well as the tropes of the genre. As we gradually learn more about these characters way of life, we're not only slightly unnerved but we begin to feel for these people. Their character is drained from early in life and as the emotions inside them began to stir, so did my hope for them. There's moments within the film that are quietly heartbreaking. In many love stories, we cheer because the characters rebel against the social norms placed upon them. Their fight for love is what we go for. In Never let me go, we lament because the fight has been taken out before these young people can even acknowledge what they're feeling. This gives the film such a fresh and unique feel from so many dramas.
And yet still something in Garland's adaptation stops me from truly falling for this movie. After a quick read of the novels synopsis I realise that there's been small changes to the narrative that dull an already muted plot, and lessen the impact one of the films more powerful scenes. The films restraint; while welcoming also causes slight problems in finding warmth within the films characters. There are moments that truly call out for it, but the mood is so subdued it may only be those who are really connected to Ishiguro's prose who can get the most out of it.
There are three solid performances to enjoy however, with Mulligan, Knightly and Garfield all getting into the right brain space for the immature and naive players. Garfield especially rounds off a great year with a performance that almost taps into that emotion that bubbles under the surface. Kudos must also go out to the child casting as the kids not only look like their older counterparts, but give solid, watchable performances.
I've said before that is the film gets me interested enough in the book then it's done it's job. Never Let Me Go does enough to warrant my interest into heading to Waterstones and purchasing a copy of the novel. The problem however, will be that the books prose will be be rich enough for me to really get into the piece.
Director: Mark Romanek
Screenplay: Alex Garland
Starring: Carey Mulligan, Andrew Garfield, Keira Knightley
Synopsis is here
Never let me go has the issue that I feel most avid book reader fear. Despite being proficient from a technical viewpoint (with a lovely use of muted colours), and having a strong cast that really holds it's own with the delicate material, Never let me go is missing something. I haven't read the book but it feels obvious to me that some of the nuances that Kazuo Ishiguro are missed somewhat. Maybe the films reveal is a bit too quick. perhaps the performances just don't tug on the heartstrings, or the grand themes are all a tad too subtle on screen, I'm not sure.
Still, there is a lot to enjoy in this taut and restrained piece. Like other good sci-fi, Never let me go is as much about the human condition as well as the tropes of the genre. As we gradually learn more about these characters way of life, we're not only slightly unnerved but we begin to feel for these people. Their character is drained from early in life and as the emotions inside them began to stir, so did my hope for them. There's moments within the film that are quietly heartbreaking. In many love stories, we cheer because the characters rebel against the social norms placed upon them. Their fight for love is what we go for. In Never let me go, we lament because the fight has been taken out before these young people can even acknowledge what they're feeling. This gives the film such a fresh and unique feel from so many dramas.
And yet still something in Garland's adaptation stops me from truly falling for this movie. After a quick read of the novels synopsis I realise that there's been small changes to the narrative that dull an already muted plot, and lessen the impact one of the films more powerful scenes. The films restraint; while welcoming also causes slight problems in finding warmth within the films characters. There are moments that truly call out for it, but the mood is so subdued it may only be those who are really connected to Ishiguro's prose who can get the most out of it.
There are three solid performances to enjoy however, with Mulligan, Knightly and Garfield all getting into the right brain space for the immature and naive players. Garfield especially rounds off a great year with a performance that almost taps into that emotion that bubbles under the surface. Kudos must also go out to the child casting as the kids not only look like their older counterparts, but give solid, watchable performances.
I've said before that is the film gets me interested enough in the book then it's done it's job. Never Let Me Go does enough to warrant my interest into heading to Waterstones and purchasing a copy of the novel. The problem however, will be that the books prose will be be rich enough for me to really get into the piece.
Review: Rec 2
Year: 2009 (UK Release 2010)
Director: Jaume Balagueró, Paco Plaza
Screenplay: Jaume Balagueró, Paco Plaza, Manu Díez
Starring: Jonathan Mellor, Óscar Zafra, Alejandro Casaseca, Ariel Casas
Synopsis is here
Other reviews have said it more eloquently so I'll also jump on the bandwagon in saying that Rec 2 is the Aliens to Rec Alien. Like James Cameron's arguably superior (to some) sequel. This film concentrates on bulking up the action and expending the universe. Not a terrible thing in a world where sequels usually try and mimic the original and add nothing new (See also certain remakes). The issue with this in Rec 2 however is, you suddenly realise that less is more. By the time the film springs it's big surprise, you won't be bitching to Toto about Kansas. In fact, screw Oz for that matter, as Rec 2 goes into a brave new world of bonkers. Some of it's inventive, a lot of it is visceral but nothing compares to how bloody barmy the whole thing is.
As I said before in my review for Survival of the dead. The zombie sub-genre doesn't need to look to Romero for interesting commentary anymore. Rec's combination of hand-held immediacy, quarantined setting and vague religious codec was a heady blend which ended on a perfect note. It also remembered that less is more, especially when it comes to found footage. Even Cloverfield knew it had to hide it's monster for as long as possible.
Rec 2 feels that it needs to fill the gaps by utilizing many, many references to various other horror flicks and some awkward (read: silly) plot moments. As it explains what the virus is and what these new characters have to do in order to survive/cure the virus. The thing is, Rec had our imagination do the hard work and the fun was in not knowing. Rec 2's quasi-exorcist shenanigans and cornball plot twists do their best to show how deep the rabbit hole goes, however, not only do they take away some of the mood (the last third becomes very jarring) but they also help expose the fact that the screenwriters had to create an uber twist to justify the films very existence. Added to this a much weaker cast (with no character development in sight) and once again you have a lesser horror sequel.
There are good points however. The films first third brings back some of the claustrophobic tension that made the first film so memorable. The films setting is still brilliantly handled at times and the use of lighting and sound really brings together that "bump in the night" feeling. There is also one or two well executed jump scares and action set pieces that help capture that familiar kinetic energy.
Rec 2's wish to expand the situation really plays havoc with what made the original what it was. One must remember that, while the first film isn't an in-depth character study, but it did have people we wanted to watch. This added to the tension that the setting and situation brought. The insistence of adding more to the films streamlined narrative really screws with the chi. With Rec 3 and 4 on the way there's a good chance that this franchise will be running on fumes very soon.
Director: Jaume Balagueró, Paco Plaza
Screenplay: Jaume Balagueró, Paco Plaza, Manu Díez
Starring: Jonathan Mellor, Óscar Zafra, Alejandro Casaseca, Ariel Casas
Synopsis is here
Other reviews have said it more eloquently so I'll also jump on the bandwagon in saying that Rec 2 is the Aliens to Rec Alien. Like James Cameron's arguably superior (to some) sequel. This film concentrates on bulking up the action and expending the universe. Not a terrible thing in a world where sequels usually try and mimic the original and add nothing new (See also certain remakes). The issue with this in Rec 2 however is, you suddenly realise that less is more. By the time the film springs it's big surprise, you won't be bitching to Toto about Kansas. In fact, screw Oz for that matter, as Rec 2 goes into a brave new world of bonkers. Some of it's inventive, a lot of it is visceral but nothing compares to how bloody barmy the whole thing is.
As I said before in my review for Survival of the dead. The zombie sub-genre doesn't need to look to Romero for interesting commentary anymore. Rec's combination of hand-held immediacy, quarantined setting and vague religious codec was a heady blend which ended on a perfect note. It also remembered that less is more, especially when it comes to found footage. Even Cloverfield knew it had to hide it's monster for as long as possible.
Rec 2 feels that it needs to fill the gaps by utilizing many, many references to various other horror flicks and some awkward (read: silly) plot moments. As it explains what the virus is and what these new characters have to do in order to survive/cure the virus. The thing is, Rec had our imagination do the hard work and the fun was in not knowing. Rec 2's quasi-exorcist shenanigans and cornball plot twists do their best to show how deep the rabbit hole goes, however, not only do they take away some of the mood (the last third becomes very jarring) but they also help expose the fact that the screenwriters had to create an uber twist to justify the films very existence. Added to this a much weaker cast (with no character development in sight) and once again you have a lesser horror sequel.
There are good points however. The films first third brings back some of the claustrophobic tension that made the first film so memorable. The films setting is still brilliantly handled at times and the use of lighting and sound really brings together that "bump in the night" feeling. There is also one or two well executed jump scares and action set pieces that help capture that familiar kinetic energy.
Rec 2's wish to expand the situation really plays havoc with what made the original what it was. One must remember that, while the first film isn't an in-depth character study, but it did have people we wanted to watch. This added to the tension that the setting and situation brought. The insistence of adding more to the films streamlined narrative really screws with the chi. With Rec 3 and 4 on the way there's a good chance that this franchise will be running on fumes very soon.
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.
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