LA Confidential: Review of Inherent Vice

Inherent Vice

Director: Paul Thomas Anderson

By Alex Watson

The cinema of PT Anderson is always an engaging experience unlike any you will ever see. With his work such as Boogie Nights, There Will Be Blood and his most recent effort, The Master there is always a strong sense of realism mixed with an almost ambient aura surrounding it. So far critically he has yet to put a foot wrong and his new effort adapting Thomas Pyncheon's 2009 novel, Inherent Vice might be another fine addition to an increasingly impressive collection.

Larry 'Doc' Sportello is a LA based private eye who is given a surprise when his ex girlfriend Shasta Fay Hepworth (Katherine Waterston) emerges from a long absence needing his help regarding the disappearance of her rich and powerful boyfriend. The resulting case will produce a web so complex Doc will have his work cut out. Also he has managed to run afoul of notorious LAPD Detective Christian 'Bigfoot' Bjornsen (Josh Brolin).

Inherent Vice is an Anderson movie that both excels but at the same time is immensely flawed. My first advice before viewing this film is to go with the flow because the central story line is one that will send your mind in all kinds of directions. In short, the disappearance of a real estate tycoon is the simple part of this whole mystery and there diversions galore to keep our minds ticking. Doc will also have to contend with Neo-Nazi's, saxophone player, Coy (Owen Wilson) who may or may not be a triple agent and an Indo-China cartel called The Golden Fang.

The principle difficulty in the analysis of this picture is that although the movie possesses a sharp and wicked sense of zany humour, it also has a heavy cloud of density hanging over it. All throughout there are red herrings and rumors that drive the plot which make for great and unpredictable viewing. What is the Golden Fang? They could be everything to do with the vanishing or could also be another detour from the path to discovery. However, sadly we are not left with any kind of clear answers. Artistically this could be clever trickery by Anderson and it could well be on multiple viewings that the real answer finally emerges.

Doc Sportello as a man is one who is very much of the pot smoking 70's and underneath his glazed eyes and his straw hat is a man who has become locked into one hell of a puzzle. In an era where the dreams of the 1960's have long since faded, Doc is a man who simply exists and his almost lathergic approach bizarrely endears him. In one scene, we see him write 'Seriously Smoking' on his notebook when interview a potential witness. His constant harassment by the Bigfoot gives the movies its main sense of laughs. The burly copper is fond of his civil rights violations but even more so of tormenting his hippie enemy/helper. Their phone calls (in particular Doc being dressed down by Mrs Bigfoot) make for some uncomfortably hilarious viewing.

Joaquin Phoenix is proving to be the new go to man for Anderson and as Doc he succeeds in bringing a real human quality to the role. Unlike the conflicted and impulsively violent Freddie Qualyle, Doc is like a passive counterpart who is having to up his level of thinking in order to survive. Phoenix also succeeds in bringing some great natural humour- his reaction to Jena Malone's picture is just genius. Among the starry cameos such as Reese Witherspoon, Benicio Del Toro and Owen Wilson, it is Josh Brolin who claims top supporting honours and as the borderline demented Bjornson, he is a thumping and bold presence.

Inherent Vice is a picture will be most likely be considered to wayward and scruffy to appeal for Academy Voters come prize time. But it is still a picture that deserves to be analysed over the coming years if only to unlock the mystery.

The Last Battle: Review of The Hobbit: Battle of the Five Armies

The Hobbit: Battle of the Five Armies

Director: Peter Jackson

By Alex Watson

So finally Peter Jackson's return to Middle Earth comes full circle, The Hobbit Trilogy has encountered a decent reception upon its release, but maybe less positive than the beloved Lord of the Rings saga. Jackson has still been able to conjure up the same old magic as before though such as the hair raising introduction of Smaug the Dragon. He will be sure to make Tolkein proud though with this final installment in The Hobbit: The Battle of the Five Armies. 

As Smaug the Dragon (Benedict Cumberbatch) reigns havoc upon the town of Laketown, a small band of survivors led by Bard (Luke Evans) make for the mountains of Erebor in search of shelter. Meanwhile Bilbo Baggins (Martin Freeman) is growing concerned with Thorin's (Richard Armitage) dark obsession over a precious king stone. All the while a surge of Orcs descend upon the mountain for a battle that will decide the fate of all!

The finale to Jackson's six part Middle Earth series is one that will no doubt please fans. The Hobbit: Battle of the Five Armies wraps things up in a more convenient way than that the multiple endings of Return of the King. Events are given a major kick start as Smaug reigns a fiery death upon Lake Town, cue utter chaos where only an act of sheer heroism by Bard will save the day! Unlike other episodes, Jackson through good editing has stripped this one down to the necessary content and there is no dragging feeling or any sense he is looking to draw things about because he can.

Loyalty and brotherhood are the key focuses of Five Armies, Thorin's increasing insanity is the element that really keeps the story on its toes. The once steadfast and beloved leader has descended into a stir crazy man who under the dragons influence is beginning to suspect his fellow dwarf men.  Bard's story though is the one that captures our heart, as he is a simple man pushed into being a De-facto leader. Through his courage to save his family and his desire to regain the lives of other villagers, we find the movies sympathetic and compassionate voice. A well shot bargaining conversation through the Erebor gate with Thorin demonstrates his heroism and his opponent's unwillingness to budge.

In this installment, there are missteps in The Hobbit: Battle of the Five Armies such as an underwhelming three way battle when veterans Gandalf (Ian McKellen), Galadriel (Cate Blanchett) and Elrond (Hugo Weaving) do combat with the Nazgul. By rights this should have been a standout scene, but in a heartbeat it is gone to quickly! Plus although this a well paced final part, it never fully realizes its potential and feels a little too confined to the shadows throughout. This brooding sense of inner conflict aids the film in some parts but in others it simply delays the action.

But we are richly rewarded with a stunning final battle sequence as the Elk mounted Elf, Thranduil (Lee Pace) along with foul mouthed dwarf Dain (Billy Connolly) do battle with a sea of orcs against Erebor. However, it is the moment that Thorin emerges from the gates to lead the charge that really breathes life into this affair. There is also a heavy emotional undercurrent to this battle which was seldom seen in Return of the King and lives and bonds are shaken forever through a single blade. It is the kind of finale, only a director like Jackson could deliver.

Martin Freeman has proven to be an inspired piece of casting as Bilbo Baggins and has grown into the role magnificently. It is the way he portrays the Hobbit's humbleness and quiet bravery that adds layers to this character. More impressively, the cracks in Bilbo's character are beginning to show through. Jackson is subtle with his hints, but through Freeman, these give a powerful indicator what is to come. Five Armies though belongs to Richard Armitage as Thorin, a true presence in this series, this movie he plays both hero and villain to perfection. His finest moment comes from a stunning hallucinatory sequence against the golden floor of Erebor as the Dwarf leader finally clues into what is causing his new lust for his treasure!

The Hobbit: Battle of the Five Armies is perhaps not as memorable as many would have hoped, but Jackson has still succeeded in giving JRR Tolkein's Middle Earth a fine send off! Farewell everyone, it has been an experience.

Coded Messages: Review of The Imitation Game

The Imitation Game

Director: Morten Tyldum

By Alex Watson

Alan Turing was a man who undoubtedly played a key role in the outcome of World War 2 and his risky but legendary code cracking machine, not only broke the notorious Enigma machine, but saved over 14 millions lives. Sadly his recognition was marred by his conviction for being homosexual (still a crime in the 1950's) which led to his suicide in 1954! This year, after his stunning movie Headhunters, Norwegian director, Morten Tyldum bring us a stirring portrayal of a unique mind in The Imitation Game. 

As the German's march across Europe, the cryptologists of Bletchley Park have struggled to crack their remarkably tough code machine, Enigma. Alan Turing (Benedict Cumberbatch) and a team of other code breakers however have an idea that may just win the war, but it will test the patience of the Allies.

Winner of the Viewers Choice Award at this year's Toronto Internation Film Festival, The Imitation Game is a spectacular and well paced film by Morten Tyldum. The most impressive element to this movie, is how Tyldum is able to recreate the sheer tension and against the clock feel of Turing's idea. His superiors at Bletchley want nothing more than to get him off the grounds, but despite some missteps, eventually this man's standoffish personality and continually ticking mind will strike gold and sway the direction of the war.

Aided by an excellent script from first time writer, Graham Moore, Tyldum effortlessly enraptures his audience with a multilayer puzzle throughout the movie. Interweaving between four periods including Turing's arrest in 1951 for his offense, his time serving at Hut 8 in Bletchley Park during the war and his tough upbringing at public school which saw him routinely bullied and experience a forbidden love. These stories contribute to the mystery of Turing himself and we find ourselves asking what makes him such "an odd duck".

Turing as a man is not an easy one to like and his rather bizarre and introverted persona immediately cause friction. Early on we see him in what is perhaps one of most hilarious and raw job interviews you will ever see. Instantly he dismisses his capable co-workers including Hugh Alexander (Matthew Goode) as inconsequential, leading Commander Dennison (Charles Dance) to remark "Popular at school were you?" But in between the numerous crosswords and unbreakable codes is a man of sheer genius and his steadfastness to his speculative idea hooks us throughout.

The platonic relationship between Alan and his real life co-worker Joan Clarke (Keira Knightley) is one that adds that a real human feel to this man. His real sexual preference is also one that increases the pressure and as he stills in the police station recounting his story to a detective (Rory Kinnear), he asks him how he wishes to judge him, a hero or a criminal? Turing was not pardoned for his crime until 2013, which to this day still feels unjust.

Behind the success of The Imitation Game is the man himself, Benedict Cumberbatch who is finally given the role of a lifetime, and delivers on a big scale. Expertly mirroring Turing's burning desire to prove this theory correct, Cumberbatch proves that is a big contender for awards through his continually troubled and intense gaze that projects not only his current sufferings but the ones from his past as well. After years of people waiting for the man to hit mainstream success, Benedict Cumberbatch has finally arrived and it is magnificent to see!

I am saddened that The Imitation Game was not released in time for my top 10 for 2014, because it would have placed highly. Morten Tyldum demonstrates that the hype surrounding him and star Cumberbatch is to be believed. Alan Turing was a man of his time because as we are reminded "Sometimes it is the people no one imagines anything of who do the things that no one can imagine."

Truth Shall Set You Free: Review of Rosewater

Rosewater

Director: Jon Stewart

By Alex Watson

Of all the first time directors, the last name many would have expected to see credited to a feature film was 'The Daily Show' man Jon Stewart. Known for being one of the smartest and sharpest political satirists, Stewart this year tells the story of Canadian-Iranian journalist Maziar Bahari, whose imprisonment in Iran brought international attention in his film, Rosewater. After some receptive reviews at TIFF 2014, it appears that Stewart may have a future in film.

Mazier Bahari (Gael Garcia Benal) is a London based journalist who has returned home to Tehran, Iran to cover the upcoming election. After giving a satirical interview for American television, he finds himself imprisoned and brutally tortured over 118 days! But as the regime sets about to break his spirit, Mazier quickly realizes that having hope is the only tool that will keep him alive.

Rosewater is a steady first feature from Stewart and shows his potential promise as director. The story of Mazier Bahari is one that has a unique mix of tension and political humor thrown in for good measure. An early example of the misunderstanding of western lifestyle comes when his family home is raided and the interrogator (Kim Bodnia) produces copies of The Soprano's and Pasolini's, Teorema and declares they are porn! Quickly Mazier is thrown into jail where he is repeatedly accused of being part of a US conspiracy and is routinely brutalized for flimsy evidence.

His interrogator sets about to break him through any means, but through his imaginary conversations with his dead father (who was previously imprisoned under the Shah's regime) it lights the fire under him that he sorely needs. He may mock and scorn his father's communist ideals and for leaving his family due to his refusal to divert from them. But he also feels a deep love and the man's absence is something that plays on his mind constantly and it through his old man's fiery urgings that gives him the reason to believe. Stewart here demonstrates a real depth of emotion that few would have predicted and this becomes the movie;s principle strength.

The main problem however, comes from Rosewater's humorous feel. Under this the movie slightly collapses and leaves things a little off balance. There are flushes of great jokey moments, one scene sees Mazier told his about to be shot, but still offered Nescafe to drink! Stewart though slightly misreads the tone required and from this he doesn't quite succeed. One key feature that is noticeably absent is that lack of nail biting tension, we all know that Bahari will eventually be released and his imprisonment although at times slightly awkward is never hit home with any real brutal force.

Gael Garcia Bernal demonstrates his versatility as Mazier Bahari and through an excellent central turn, he becomes both the movies political and moral voice. Also Bernal is able to encapture the absurdity of his situation and his mocking contempt for the political regime and their lack of imagination. Unlike Mazier, they will never be truly free thinking and Bernal exploits this to full effect. In a brief but key supporting role, Haluk Bilginer succeeds admirably as Bahari Senior and his ghostly presence becomes his son's inner spirit which will guide him towards freedom.

Aside for a few missteps, Rosewater shows that Jon Stewart could well have a career in film should ever choose to step down from political comedy. A solid if not unremarkable debut feature, Stewart is one to watch in future.

2014: A Year in Review

Another big year for film has come and gone, this year we saw 12 Years A Slave secure Oscar triumph, The Lego Movie remind us how 'Everything is Awesome' and the underwhelming effect of Godzilla returning on the big screen. We also lost two of the most loved figures in film in Philip Seymour Hoffman and Robin Williams, a void which will never truly be filled. Closer to the Edge also moved blog sites, but that is another story. 

So live and direct from Toronto, Ontario I give you my review of 2014!

Top 10 Films of 2014

1. Nightcrawler (USA Dir: Dan Gilroy):
   
   
   Dark, dense and utterly pulsating, debut director Dan Gilroy has created 2014 most original and enticing work. With a mesmerising central turn from Jake Gyllenhaal as Lou, a man drawn deeper into the underworld of freelance crime journalism, this proved to be a shocking yet awe inspiring tale. As each step takes him further across the lines of morality, our viewing takes another shocking turn. One of the dark horse contenders for the awards and rightfully my film of 2014! Read Review

2. Whiplash (USA Dir: Damien Chazelle) 
   
   
   After wowing Sundance and taking the Audience Award, the boundaries of the teacher pushed to the limit in Damien Chazelle's riveting drama. Featuring a star making turn from Miles Teller and a frightening career best from J K Simmons, this film was both heart stopping and psychologically testing for all. As Teller's Andrew strives to be one of the great jazz musicians, the prize will come at the ultimate cost. Read Review

3. Birdman (ESP Dir: Alejandro G Iñárritu)
   
   
   The return of Alejandro Gonzalez Iñárritu provided one of 2014's most off beat dark comedies. Former caped crusader, Michael Keaton proved a surprise success as a former action star Riggan Thompson, who is floundering his way to attempted stage glory. The knives of the Boardway world are fully sharpened throughout and Iñárritu ignites this fine satire piece. Keaton's half naked spirit through Time Square is laugh guaranteed. Read Review.
   
   
4. Foxcatcher (USA Dir: Bennett Miller)
   
   
   The true story of real life brother wrestlers Mark & Dave Schultz was brought to fruition by Bennett Miller in a slow burning but explosive fashion. Steve Carrell was the stand out in a career high role as their unpredictable and schizophrenic coach John Du Pont. With great support from Channing Tatum and Mark Ruffalo, the tension rises to unbearable levels. What starts as a beautiful opportunity gradually becomes a nightmare! Read Review.
   
   
5. Boyhood (USA Dir: Richard Linklater)
   
   
   Richard Linklater's 12 year project was well worth the long wait and served as the most naturalistic and most moving experience of this year. A revelatory turn from star Eller Coltrane gave the films its beating heart and we was ably supported by Ethan Hawke and Patricia Arquette. Linklater undertook a huge gamble, but the time invested has produced the most refined and seasoned movie of his career. Read Review.
6. Nymphomaniac Volume 1 & 2 (DEN/FRA/DEU/BEL Dir Lars Von Trier) 
    
   When Lars Von Trier is in town, expect things to get shocking, Nymphomaniac Vol 1 & 2 was yet another fine example of his polarizing style. With more flesh on display than you would see in a life time of European cinema, the story of sex addict Joe (Charlotte Gainsbourg) was stunning yet nauseating experience. With a bold turn from British actress Stacy Martin, Von Trier has again shown himself to be the master of awkward cinema. Read Review.
   
   
7. Miss Julie (NOR Dir: Liv Ullmann) 
   
   
   Liv Ullmann's first effort behind the camera in 15 years was a sexually charged battle of social classes as Midsummer Eve in 1890 Ireland begins to heat up. Boasting a fascinating central performance from Jessica Chastain as the aforementioned Miss Julie, Ullmann ensured that our hearts were put through the wringer. Big questions of love, desire, status and happiness were firmly asked, but this is one place where reassuring answers are a forgotten dream! Read Review.
   
   
8. Wild (USA/CAN Dir: Jean-Marc Vallée') 
   
   
   The story of Cheryl Strayed's 1100 mile trek of the Pacific Coast Trail was an enthralling tale of redemption by French/Canadian Jean-Marc Vallée'. Reese Witherspoon in a career best role superbly conveys Strayed sense of anguish through the premature loss of her mother (Laura Dern) and her fierce desire to get life back on the rails after falling off due drug addiction and divorce. This was one long walk that had a stiff yet uplifting feel that cannot be beaten. Read Review.
   
   
9. Snowpiercer (KR Dir: Bong Joon-ho) 
   
   
   Boon Jong-ho may have experienced a Harvey Weinstein style nightmare getting his arctic apocalypse drama to the screen, but it was worth the waiting. One of the more unique movies of the year, Joon-ho combines stunning visuals mixed with brutal yet ravishing violence. The gradually building animosity between classes on the big train soon reaches boiling point. When the battle begins, our eyes go wild with shock. Read Review.
   
   
10. Dallas Buyers Club (USA/CAN Dir Jean-Marc Vallée') 
    
    
    The second part of our Vallée' double bill gave us only the resurrection of Matthew McConaughey but one of 2014 most memorable characters. The exploits of AIDS patient Ron Woodroof gave us a real anti-hero who refuses to quit after his life changing diagnosis. His efforts to help people prolong life are ones that bring tears to our eyes. Ron may not be the most pleasant of men, but his heart is in the right place. Read Review.

Best of the Rest

11. The Grand Budapest Hotel 
    
    
    Through some excellent set design and memorable turn from Ralph Fiennes as concierge Gustave M, Wes Anderson brought us one of the most well designed and easy humored pieces of the year. His trademark quirk present as usual, there were also signs of a more mature and refined Anderson breaking through in future. Read Review.
    
    
12. Starred Up (UK Dir: David MacKenzie)
    
    
    Jack O'Connell's hypnotically savage Eric lit up this grim prison drama from director David MacKenzie. One of the best pieces of British cinema this year, MacKenzie succeeds in bringing forth the horrors of British prison life. Watching Eric's hysterically laughter at hurting his first victim is assured to make you squirm. Read Review.
    
    
13. Guardians of the Galaxy (USA Dir: James Gunn) 
    
    
    By far one of Marvel's most fun and original efforts of years gone by, James Gunn helped put the smiles back on fans faces with a fast paced yet hilarious ride. Armed with the best soundtrack of the year and a winning performance by Chris Pratt, the next installment already has us waiting in anticipation. Read Review.
    
    
14. The Wolf of Wall Street (USA Dir: Martin Scorsese) 
    
    
    Few would have predicted that Martin Scorsese could do funny, well his look at the drug fueled life of Wall Street Jordan Belfort proved doubters wrong. It have alienated Academy voters with its overly time and over use of drugs and sex, but with a magnificent performance from old faithful, Leonardo DiCaprio, this ranks as Marty's best 21 century effort!  Read Review.
    
    
15. Blue Ruin (USA: Dir Jeremy Saulnier)
    
    
    Jeremy Saulnier's indie effort may have flown under the radar, but his tale of revenge is an effort destined for cult status. With an impassioned turn from little known actor Macon Blair, Saulnier gave us the perfect everyman to convey his tale. A director to watch in future, this man ensured that anxiety was cranked up the max and the unexpected was forever there. Read Review.

Male Star of the Year: Matthew McConaughey 

Few people would have predicted that Matthew McConaughey would be the main man of 2014! Many have frowned his past romantic comedy efforts and considered him a lost cause. Well an Oscar win later, McConaughey was the one laughing and along with starring in this years best TV in True Detective, he would end the year anchoring Christopher Nolan's heavyweight effort, Interstellar. We are now in the presence of a man who is becoming one of the actors of his generation! Just keep him away from Kate Hudson please.

Female Star of the Year: Julianne Moore 

Through her devastatingly brilliant turns in Maps to the Stars (which won her Best Actress at Cannes) and Still Alice, Julianne Moore has shown how she is one of the most underrated talents today. One more a contender for prizes, Moore has had one of the finest years of her career and still provides an alluring presence on screen (look how she lit up Mockingjay in limited screen time). Fast becoming one of this blogs favourite girl, Julianne is the deserved winner of this category.

Director: Jean-Marc Vallée' Wild/ Dallas Buyers Club) 

Montreal native Vallée' has had his star being on the rise for years since 2005's CRAZY. This year would see his impact on the industry imprinted as he gave us the one/two punch of Wild and Dallas Buyers Club. Sporting a real eye for human emotion, his ability to highlight real people's strives makes for absorbing viewing and we should hopefully see this name on prize lists for years to come. 

Scene of the Year: Jordan Belfort Paralysed on Quaalude's 

Scorsese's ability to do comedy was never better demonstrated than when Jordan Belfort finds out the exact effect of the ancient Quaalude's he has ingested. What starts as a simple phone call quickly descends into something far more shocking and hysterical. Prepare the stitching kit, it will come in handy after seeing this. 

Finally I want to extend a massive thanks to all my readers in over 98 Countries who yearly listen to my rambling about film. Without you guys I am nothing, like Roger Ebert once said "I'll see you at the Movies!" 

Wordplay: Review of Still Alice

Still Alice

Director: Richard Glatzer & Wash Westmoreland

By Alex Watson


You can only imagine what it must be like to have your mind go into stages of decline. Suddenly the person you were begins to fade away and your life becomes a very different experience. After impressing at TIFF 2014 and earning a overwhelmingly positive response, directors Richard Glatzer and Wash Westmoreland bring us a heartbreaking adaptation of Lisa Genova's novel Still Alice. With Julianne Moore anchoring this effort could be one of the strongest that 2014 has to offer.

Dr Alice Howlett (Julianne Moore) is a world renowned and respected professor of linguistics at Columbia University. She has a happy marriage to John (Alec Baldwin) and three great children. Soon though she finds herself beginning to forget words and through this she suspects something is wrong. Crushingly Alice is diagnosed with early onset of Alzheimer Disease and soon she has contend with her life falling apart. The weight of her disease will test her relationship with her family as well her job!

Still Alice is a simple yet utterly poignant movie from Westmoreland and Glatzner that grabs at our hearts and rips them clean out. The most pulverizing element is how simply things come about and what starts as Alice forgetting to spell words such as Lexicon and gets lost running on her own campus, things soon develop into something far more serious! The moment the life changing news is given to her, it elicits a variety of reactions, John angrily dismisses the diagnosis where as her children Lydia (Kristen Stewart), Anna (Kate Bosworth) and Tom (Hunter Parrish) range from being acutely concerned to nervously staying clear of events.

The later scenes where's her mind begins to deteriorate are one the strike us the most, the most lucid things become an eternal struggle such as her forgetting where the bathroom is supposed to be, her children's names and going from a master at playing 'Words with Friends' to being unable to spell a single thing. Alice is being reduced to a shadow of her former self and gradually words lose all meaning to her, a key scene shows Lydia reading an extract from Angels in America, all Alice can muster is that is 'about love'. The things she loved so dear have become only sounds and feelings.

A variety of extreme close ups from Westmoreland and Glatzer show the pain and affliction that has become Alice's world. In some sense's she is now stuck in a trap that she cannot be released from. The burden on her family gives the film an increasingly strained feel, particularly as John is continually absent which upsets his wife as he is forever not completely listening. But her steadfastness is cause of celebration as Alice still tries to cling to old person she was. At a Alzheimer convention with the aid of a highlighter, she gives one of this years most tear shedding but triumphant speeches!

However there is also a sense of the clocking being run down on Alice's mind and we worry about what the outcome could potentially be. Early on in the movie, Alice makes a video while still her old self that is to give instructions to herself in the future when she 'can no longer answer the questions'. This is supposed to be the last thing she ever sees, but could also be the one thing that she was never supposed to see! Either way it remains as source of discomfort throughout for viewers and we hope in vain it will not be discovered.

The principle strength of Still Alice comes from a stunning central turn from Julianne Moore. 2014 has been one of Moore's strongest years and this role is very much the cherry on top. Playing with devastating effect, she neatly strips away the layers of Alice as her condition worsens and accurately conveys the hurt involved. This role will rank as one of Julianne's career highs and this could well be the part that carries her to award season glory this year. Alec Baldwin also a key anchor for the movie and his gradually increasing avidity to her declining health serves the well but also causes a minor source of stress.

One of the 2014's best independent efforts, Still Alice is a film that is worthy of its critical praise and with the strength of Julianne Moore, it will ensure that audiences will go away feeling a little numb. Best stock up on those Kleenex boxes, they will be compulsory!

Top 4 Christoph Waltz Moments

Austrian actor Christoph Waltz came onto our screens in a blaze of glory after his stunning turn as clever monster Colonel Hans Landa in Tarantino's Inglorious Bastards. Sporting a unique blend of charm mixed with extreme danger, he has proven to be one of the most able and commanding European actors so far in the 21st Century. Now Sam Mendes has come up with the smart idea of casting him as the new Bond villain in upcoming installment, SPECTRE!

While we light the fires of anticipation, here are four reminders of just why we love this guy so much!

Inglorious Bastards "That's a Bingo!"

Hans Landa all throughout Tarantino's WW2 effort is an unpredictable menace, his memorable entrance sets us on alert early on. However, it is his turncloak effort at the films climax that proves most enthralling, purely for the fact that Landa does it without a second thought. The relish on his face when he says the immortal 'Bingo' line wonderfully turns to borderline embrassment as it falls flat before Aldo Raine (Brad Pitt). Either the making of Waltz was created.

The Green Hornet "Are We Clear?"

In Michel Gondry's hit and miss adaptation of TV's the Green Hornet, Waltz's baddie Chudnofsky proved to be the one solid and plausible element. His opening scene is a masterclass in silent villainy as with minimum of effort (and a two barreled pistol) he easily dispatches fast talking drug dealer Danny Clear (James Franco). Talk about whipping the smirk off the guys face!

Django Unchained "Dr King Schultz"

In his second Oscar winning role under Tarantino, Waltz's garrulous Dr King Schultz stole the show. Once more he proved the master at entrances and this one showed how even a great word smith can be a cracking shot also! Along with his faithful steed, Fritz, this 'dentist' was by far the standout due to his friendly yet resourceful feel. Long may this partnership continue!

Water for Elephants "Fair Warning"

Waltz's role in Water for Elephants probably wasn't the greastest he will ever receive, but he sure made the most of things. The strongest thing was his refusal to abide by the typical abusive husband stereotype. His August character is one of more subtle and viperous threats, in this one key scene, he lets Jacob (Robert Pattinson) know he is aware of his affair with his wife and casually alerts him to the consequences that could follow.

After The Fox: Review of Foxcatcher

Foxcatcher

Director: Bennett Miller

By Alex Watson

After winning the Best Director award at Cannes this year, director Bennett Miller returns to our screen with his critically acclaimed movie Foxcatcher. Based on the true of former wrestlers Mark and Dave Schultz and their charismatic yet mentally unstable coach John DuPont, this could make for one of 2014's most riveting drama's!

John DuPont (Steve Carrell) is a millionaire wrestling enthusiast who is desperate to bring glory to his team 'Foxcatcher'. To get closer to his aim of winning a gold at the 1988 Seoul Olympics, he recruits wrestler Mark Schultz (Channing Tatum) who despite past glory lives in shadow of his brother Dave (Mark Ruffalo). Although he is giving both men a chance of a life time, soon it appears that DuPont may not be the man he seems. Fatal consequence will soon follow on the grounds of Foxcatcher Farm!

Foxcatcher is a superb return to the screen for Miller and from an early stage the slowly cooking tension grabs us and refuses to let go. At the heart of the story is a tale of two brothers living under the constant uncertain gaze of their rich benefactor. From the get go, Mark is a man who is continually depressed at being second fiddle to successful brother Dave. Despite also being an Olympic Gold Medalist in the 1984 Los Angeles games, no one around seems to care and only seems to tolerate him to please Dave. His older brother is always affectionate and loving towards Mark, but the pent up tension is always hovering and is best demonstrated when an early warm up session between siblings turns into a minor battle!

When DuPont seemingly seeks out Mark to be the new face of his mission, the guy cannot believe his good fortune and their somewhat bizarre father/son relationship gives him a new found belief. Throughout Miller's movie, John's intentions for Mark remain ambiguous and the most electric part is the parts that are left unseen. Although there is a seemingly sexual undercurrent to their relationship, it soon appears that like before, John might just be using him to get Dave on board! The moment that Mark realizes that his benefactor prefers older brother, his world begins to fall apart. One sequences seems him easily lose an Olympic trial then gorge himself in frustration, only an extreme work out from Dave will save him here.

But it's the mysterious millionaire himself who provides Foxcatcher's real fuse. John DuPont's is an difficult and aristocratic figure who is a unique mix of charm yet an isolated figure among the big grounds of his Pennsylvania home. His persona is almost identical to a spoiled man-child because whenever he doesn't get his way, his top tends to blow. At first he seems to sympathize with Mark's feelings as he himself is forever under the disappointed stare of his mother Jean (an excellent Vanessa Redgrave) who chides him for participating in a 'low sport'. His level of control and money invested allows him to manipulate and control Mark as he pleases, Dave is also forced to play nice and indulge his boss despite his concerns.

In this absorbing and pulsating film, we are given a triumvirate of brilliant performances, which is led by a career best turn from Steve Carrell. Almost unrecognizable under prosthetic's, Carrell excellently captures DuPont sense of agony with himself and his edgy and almost vague personality. Throughout this film his actions become increasingly erratic and his presence immediately strikes up an unbalanced feel. Carrell here emerges as a strong contender for the big prizes come awards time and for anyone who doubts his ability, this role will provide a strong case for him.

Channing Tatum is equally strong as the frustrated Mark and through minimal use of words, he brings to light the disappointment and anguish he feels within. But it is his ability to bring forward the sad and exposed feel of his character that makes this performance so memorable. Mark is firmly the one our sympathy lies with but we know we cannot stop his slide. Mark Ruffalo once more proves to be a reliable supporting man and as loving brother Dave he gives the movie a more warm and emotional feel. But his love for his younger sibling is not firmly reciprocated, his attempts to break through this draw us to us to Dave for the duration of Miller's film.

Foxcatcher is a movie that deserves the fine praise heaped upon it so far during release. Boasting some Oscar worth direction, it is a movie that proves to be gripping mixed with an immense feeling of sadness mixed with loneliness. Highly recommended!

The Girl On Fire: Review of The Hunger Games: Mockingjay Part 1

The Hunger Games: Mockingjay Part One

Director: Francis Lawrence

By Alex Watson

So now Suzanne Collins' beloved Hunger Games Trilogy novels begins to come full circle. Thus far Katniss Everdeen has proven to be a fearless yet real heroine that the big screen has been calling out for. After the success of the previous installment Catching Fire, director Francis Lawrence again returns for this two part finale. Fans are sure to be kept waiting on tenterhooks as we await the final outcome in The Hunger Games: Mockingjay: Part One.

After the devastating consequences of Catching Fire, Katniss Everdeen (Jennifer Lawrence) and her family are now living among rebels in District 13, run by President Alma Coin (Julianne Moore). While Peeta (Josh Hutcherson) is being kept prisoner in Panem by villainous President Snow (Donald Sutherland). Eager to seek justice for the tyranny caused, Katniss agrees to be the rebels 'Mockingjay' and the face of the upcoming revolution!

While it is very well acted, stylish and entertaining as normal, The Hunger Games: Mockingjay Part One cannot escape the fact that it just feels like a filler before the big event! Going for the same two part format as Harry Potter, this installment feels more like the business end of the spectrum and the characters we love are not given any potential room to breathe. Set mainly in the District 13 underground, this confined space makes Francis Lawrence's film suffers from a lack of thrills.

Early on there are some memorable moment such as an exciting air raid sequence on an unarmed hospital. More moments like this could have raised the movies game further. There are moments of unexpected comedy such as Plutarch Heavensbee's (Philip Seymour Hoffman) roaring frustration behind the special effect desk during his first attempts at filming Katniss' propaganda clips. But these brief flurries are only blips on the radar and before long the lengthy and talky sequences underground begin to stifle us!

Katniss is still appealing as a character and it is through her that the movies mainly qualities come to light. Forced to play the role of reluctant idol, her trips above ground provide a real eye opener for her. As she witnesses the ruins of her old district, we are shown what is essentially a mass bone yard of bodies! Her pain and anguish are potent here and she continually witnesses the violent injustice of Snow's empire, we feel every ounce of her venom pouring into the speeches she is forced to film! 

Jennifer Lawrence has been the main credit for the appeal of Katniss and once again she delivers in Mockingjay Part One. Demonstrating her great human touch along with her tough rebellious streak, Lawrence is the driving force once more and you can see exactly why her character appeals to rebels she is sworn to protect. One of the finest actresses on the planet currently, it is unbelievable to think that she isn't yet at the peak of her powers!

Philip Seymour Hoffman reminds us what a great talent he was before his tragic death earlier this year (the film is dedicated to his memory). Julianne Moore makes a decent but not unmissable presence as Alma Coin and seems to spend the majority of her time making grand speech. Donald Sutherland in only a few scenes still makes for an icy and bold villain as President Snow and his casting has proven inspired.

While Part Two might be the cherry on top of the flaming cake, The Hunger Games: Mockingjay Part One just isn't satisfying in the way that we would hope. It will leave die hard fans counting the days until the true finale appears, but to others it will just seem like a disappointing starter to a more meatier main course. 

Top 5 Modern TV Opening Sequences

Breaking Bad

Lasting less than 20 seconds, the title sequence to Breaking Bad is a masterclass in short and effective. The moment we see the swirling yellow smoke, the dark music that follows has set the tone for five seasons of unmissable TV!

True Detective

By far 2014's best opening credits work. Designed by studio Elastic, this unforgettable imagery becomes more apparent as the series deepens. Accurately foreshadowing the events, people and life changing experiences that will later effect detectives Rust Kohle (Mattthew McConaughey) and Martin Hart (Woody Harrelson). All the while it simultaneously capturing the mythical feel of a Louisiana land where it seems God has long since departed in the gritty drama. 


Damages

Sound-tracked to 'When I Am Through With You' by VLA, the legal world that is ruled with an iron fist by Patty Hewes (Glenn Close) comes to life. Fitting in some the pillars of the legal world including 'The Glory of Commerce' and 'Civic Fame' above the Manhattan Municipal Building, it shows in the world of the law, the administration of justice can be a dangerous thing. It also fits in with Patty's persona because when she is through with you "there won't be anything left"

House of Cards

Spanning the playground of politician Frank Underwood (Kevin Spacey, the shows tense and some times audacious tone comes full circle. At first seeming just random locations such at the Capitol Building, Nationals Park and the Kennedy Centre. But apparently if you look deeper there is more meaning to it, read this fine article by Phil Edwards to understand further! Either way it is an eye grabbing start to the Netflix drama!

Boardwalk Empire 

Set against 'Straight Up and Down' by Brian Jonestown Massacre, we have one of HBO's finest efforts of recent times. Witnessing Nucky Thompson (Steve Buscemi) standing on a beach, suddenly we see thousands of whiskey bottles wash ashore. His profitable but occasionally underhanded enterprise is brought forward instantly and the corrupt theme of Martin Scorsese and Mark Wahlberg's excellent five seasons is set in stone.

A Beautiful Mind: Review of The Theory of Everything

The Theory of Everything

Director: James Marsh

By Alex Watson

Stephen Hawking is without question one of the great minds in history. His book 'A Brief History of Time' changed how we each think about the universe and time itself. Not only that, but he has been a great fighter and has achieved so much whilst under going a lifelong battle with Motor Neurone Disease. But what do we really know of the man himself? This week British director, James Marsh brings us an up close look at how the man came to be in his emotionally enthralling biopic The Theory of Everything.

Young Cambridge student Stephen Hawking (Eddie Redmayne) is undertaking a doctorate in Physics. While studying he begins a whirlwind romance with fellow student Jane Wild (Felicity Jones) and embarks on a radical studying involving time. But a crushing blow is dealt when he is diagnosed with motor neurone disease and only given a short time to live! Refusing to let life slip away, Hawking will put a bold fight and continue to climb mountains while his body deteriorates.

The Theory of Everything is a poignant and fitting tribute to the legacy of Hawking and effectively captures his never say die spirit! Starting as almost a charming romantic tale, the brilliant but social awkward Stephen romances Jane at a dance whilst giving an eloquent a speech about how Tide washing powder makes the men's shirts glow under the lights. Events have a cute and magnetic feeling to them and this slightly mismatched pair make our hearts glow. However, the moment Hawking takes a life changing tumble to the ground- the diagnosis is one that essentially leaves him a prisoner in his own body.

Marsh from this point documents his struggle magnificently and the strain of his declining health is shared by both parties. The crushing pain that Hawking experiences when he believed his life was coming to an end is heartbreaking. His refusal to throw in the towel though, becomes the movie's principle strength. This story is no fairy tale by any means, while Stephen is continuing to achieve brilliance is spite of his body and speech failing, Jane is bearing the brunt of the pressure and her own life goals take a back seat to caring. In the presence of this sometimes difficult man, we find ourselves wondering if this life would have been any different with Hawking in full health?

Throughout The Theory of Everything, Hawking is not fully absolved from any blame because his success alienates him from the people he cares for most. The movie does wonderfully capture his unique sense of humour and how even in the hardest times, Hawking was able to crack a smile. One memorable scene sees him saying 'Exterminate' in his new computer voice! Even without when his voice is eventually lost, the man still resolves to be heard. There may be a lack of scientific talk, but Marsh's movie isn't focuses on celebrating his achievements, it is far more interested in a life less ordinary.

But the principle strength of this film comes from an astounding performance from Eddie Redmayne as Stephen Hawking. Playing the man from start to finish, Redmayne gives a performance that although physical demanding is one that uncovers side to Hawking that many didn't existed! The single most impressive feature of this remarkable turn is Redmayne's ability to express emotion through only facial expressions. Now a firm contender for big awards, the man has now arrived on the world stage! Felicity Jones also stakes her own claim with a heart stealing support turn as Jane. Throughout she matches Redmayne for strength and does a good job of showing the cracks appearing despite her undying love!

Also look out for great supporting turns from the ever reliable David Thewlis and a greatly repressed turn from Boardwalk Empire's Charlie Cox.

Finally the film world has a depiction of Stephen Hawking's life that is one to savour! The Theory of Everything is an emotional roller-coaster that refuses to let you off until the films conclusion! Expect acting nominations for the centre pair because they are thoroughly deserved.

This Charming Man: Review of St Vincent

St Vincent

Director: Theodore Melfi

By Alex Watson

Bill Murray is undoubtedly a favourite of many movie lovers and it is always easy to see why! His easy going charm and natural comedic talents succeed in raising potentially unlike-able characters to a level that is hilarious. After winning over audiences at TIFF (where it gained runner up in the People's Choice Award), his latest film, St Vincent could well see him turn on his finest performances in years gone by. Prepare for immense cursing, drinking and visits from a 'Lady of the Night'.

Vincent MacKenna (Bill Murray) is a broke, foul mouthed, gambling, heavy drinking old man who hates everything and everyone around him (a compliment that is swiftly repaid). But when his new neighbour Maggie (Melissa McCarthy) moves in, he is forced to bond with her shy young son Oliver (Jaeden Lieberher). Together the pair begin to change to each other in different ways, but not all them good ones.

St Vincent is certain to delight lovers of Bill Murray cinema, because first time writer- director Theodore Melfi's film is a wonderfully unorthodox and shocking laugh fest which is impossible to dislike. The most impressive quality to this film, is just how lovable Vincent is even in spite of his numerous flaws. From the moment we meet him, he  drunkenly runs over his own fence, then moments later he falls over and passes out. The next day he then hilariously accuses his newly arrived neighbour of doing the deed!

There is no doubt over what a bad influence Vincent is on all who meet him. Maggie reluctantly leaves her son Oliver in his care despite her major concerns. His idea of bonding constitutes going to horse races and him meeting Russian hooker Daka (Naomi Watts). But in the fact of what could have been a scaring encounter, Vincent begins teaching Oliver life lessons that broaden his character and make him a tougher person. When asked to do a school project about Saints- he begins learn that Saints do live among us in the world, just sometimes you have to look beyond the layers of rubble!

But unusually for a first time film maker, Theodore Melfi brings a highly accomplished feel to St Vincent. Alongside the laughs is a dominant emotional core as Vincent's true life intentions are revealed. Throughout, this man is at other end of the financial spectrum and is always hustling to make bucks wherever he can! However, witnessing him care for his sick wife strikes a cord hard and suddenly his money making schemes become less dubious. At heart Vincent is a good man with honest intentions, he is just to lost inside himself to notice.

Only Bill Murray could have played Vincent and he effortlessly brings this cantankerous old man to life! Melfi has written the character that Murray fans have been waiting for and thanks to his physical comedy, he reminds just how funny he can be. He may notoriously selective and is known for not being the easiest star to reach- but when Bill believes in your project then he will give things his all and it shows in his performance here.

Jaeden Lieberher makes for a great new star and alongside Murray, the pair share a great chemistry that makes the film tick. His character throughout is one that is drawn to the risk that Vincent poses and Lieberher raises his game in the films latter stages to give a performance that rivals Murray's. Melissa McCarthy is given an almost straight role by her standards but impressives nonetheless in the less wacky role. Her worried face throughout is rightly justified and you can't help but share her fears over what will come next?

St Vincent is one the most original yet heart tugging comedies of this year and Bill Murray fans will no doubt go away feeling delighted. The man may not always grace our screens, but we are always delighted when he does!

This New Day: Review of Before I Go To Sleep

Before I Go To Sleep

Director: Rowan Joffe

By Alex Watson

It is unimaginable to consider forgetting your entire life, the loving memories of people that we have known over time are the ones we treasure most. This idea has been explored in cinema before as individual attempt to piece their existence back to together. Rowan Joffe this week gives us his demonstration of a woman attempting to shape her memory once again but forever finding horrific clues in his adaptation of S. J. Watson's novel Before I Go To Sleep.

Since a terrible accident 10 years previously, each morning Christine Lucas (Nicole Kidman) wakes up with no memories of her prior life and has to be reminded by her husband Ben (Colin Firth) of the last decade. But one morning she gets a call from neurosurgeon Dr Nasch (Mark Strong) who has apparently been treating her. Slowly Christine begins to realize that her past maybe more surrounded in secrecy than she realizes.

Before I Go To Sleep is a thriller than despite some neat visual touches by director Rowan Joffe fails to break any new ground. This whole idea of amnesia and someone having to patch the cracks together has been done to death before, Joffe's strives to be better than its finished product- but you can't escape that this is more or less an British attempt at making the new Memento! Initially the mounting suspicions provide some decent early tension, but this soon dissolves into your standard friday night thriller.

From the outset there is a lack of suspense surrounding events and neither Joffe or the talented cast can ignite the spark that is badly needed. Each morning when Christine's memory empties yet again, we do wonder what each new day will bring as the clues become more ominous. As a central character, Christine is a vulnerable and lovable soul, but she is also a rather bland one that fails to raise any kind of significant characterization. Her husband Ben and the seemingly well intentioned Dr Nasch make for interesting male sparring partners and provide some nervous yet loving moments.

Sadly even though the guessing game is at times a moderately entertaining one, Before I Go To Sleep can't recover what is undoubtedly a predictable and rather flat conclusion. After coming on this journey we are given the ending that in our minds we probably guessed from the moment that she woke up! Joffe is a talented director and is showing signs of his father Roland's early promise but he will need to raise his game about average thrillers like this to be effective.

Nicole Kidman's performance is one firing element of the movie and as Christine she brings about a great sense of fragility. With her crystal blue and permanently suspecting eyes, Kidman demonstrates her ability to elevate beige characters to an acceptable level. Colin Firth and Mark Strong are both compelling in their roles but are not given nearly enough decent material to work with. Strong in particular is stranded as the confidante and is required to do little other than sound reassuring throughout.

Sadly despite its yearning to be something outside the box, Before I Go To Sleep is left with a distinctly ordinary feeling to it. Joffe may one day pull something remarkable out of the hat, but it will not be with this piece.

Through Space & Time: Review of Interstellar

Interstellar

Director: Christopher Nolan

By Alex Watson

When a Chris Nolan films rolls around you can always guarantee one thing for sure, this will be no ordinary experience. Continually over the past decade, the British visionary has made our minds bend in more ways than one. But his plots are always a closely guarded secret and when unveiled to us we are forever left either amazed or dumbfounded by what we have witnessed! This week he tackles space exploration and a mission that may just save the human race. Prepare for all kinds of theories, calculations and inspiring visuals in Interstellar.


In the future, the earth is slowly dying due to a lack of food resources, so to save its existence former astronaut Cooper (Matthew McConaughey) along with Dr Amelia Brand (Anne Hathaway) and Boyle (Wes Bentley) are sent through the universe on a deep space mission. Through this they must navigate a worm hole that may or may not lead them to a system that can sustain the survival of the human race.

Interstellar again proves that Christopher Nolan is a director at the top of his game and this proves to be an eye opening and thought provoking look at not only what exists in the universe, but humanities instinct for survival. As we open on the dusty and deprived earth, we view humanity virtually forced down onto its knees. Cooper proves to be one of Nolan's strongest leads as we see him as a conflicted former pilot who is being forced into playing reluctant hero on a mission that may not see him return! The emotional depth of Cooper gives his early relationship with his 10 year old daughter Murph (Mackenzie Foy) gives the film a beating heart and as watch him drive away teary eyed- we pray for his safe return.

Although slow starting, midway through the film smartly shifts into overdrive and the visual presented to us are remarkable. The impressive CG by Hoyte Van Hoytema show us the great unknown which includes a planet surrounded by gigantic rolling waves, which will play a key role in the events of the mission! But perhaps the smartest element to this whole equation is that the universe is filled with unknown dangers and even the slightest error could result in several years being lost! Tough decisions allow the characters to reveal their true colours and at points battle of wills surface, often to heart stopping effect. Professor Brand's (Michael Caine) quoting of 'Do Not Go Gentle into that Good Night' by Dylan Thomas effectively sums up the human spirit and its determination.

But the centre of Interstellar is all about the relationship between father and daughter. Murph is a no ordinary child and Cooper has encouraged her all her life to think outside the box. As older Murph (Jessica Chastain) appears, her initial anger and betrayal him leaving transcends into love and desire to see her father again and this gives her brains she never knew. However it is watching Cooper's pain filled face as he watches the 20 years of un-viewed messages from his children that hit home with such a hard and raw agony.

Even though Nolan's film is a visual masterpiece, its content and ideas may prove to be too heavy going for fair weather film fans. Never one to shy away from smart film making, Christopher and Jonathan Nolan give us a script that is so packed full of physics and morality that it feels as if we are being given a lecture rather than cinematic piece. The final act will firmly divide viewers as we cross through the dimensions of space, black holes to arriving into a destination that will surprise along with frustrating many. But unlike his other pieces, this proves to be Nolan's most heart pouring and genuine pieces.

Matthew McConaughey is an excellent lead choice and after his brillance in Dallas Buyers Club, he shows that he anchored a blockbuster well. Demonstrating a great human touch to his character, Cooper goes down as one of the more emotionally real characters of 2014 and is played with such potent power that he appeals to us from a very early stage. Anne Hathaway is also impressive as the smart yet soulful Dr Brand. But it is Jessica Chastain who firmly claims the supporting ranks with a brief yet impressive turn as the older Murph that captures our hearts.

Interstellar is an impressive and bold blockbuster, but the weight of its own intellect makes the film crumble slightly and we are left afterwards with our minds still traveling at light speed! But it is no less impressive and on a visual scale this is unlikely to be beaten in 2014. Christopher Nolan is a director who will always be challenging his audience, best to start reading for our next encounter!

Why Hollywood Needs More Train Disaster Movies

Who doesn't enjoy a couple of hours of big and silly action? Well some people probably... but the rest of us who sometimes like to disengage our brain and enjoy are always right at home with a train disaster film. What makes this kind of movie so great is that there is always an against the clock feel that pushes the story along. For those of us who grew up with Thomas the Tank Engine and his group of other talking friends (before CG ruined it!) we are accustomed to things going wrong on the rails.

Sadly this type of film is only seldom seen these days, which is a shame because it makes for a explosive feel as a pair of brave men struggle to keep the old girl on the rails. Here are some examples of what makes this genre so great.

Runaway Train (1985) 

Under the stewardship of Russian director Andrei Konchalovsky, this 1980's effort still ranks as one of the most under-rated and thrilling action movies of the decade. The story revolves around notorious and violent criminal Manny (Jon Voight) escaping jail along with naive accomplice Buck (Eric Roberts). When they board a departing train, all seemed to set succeed only the old engine pops his clogs immediately upon departure- with no way of stopping the train! The impending disaster succeeds in elevating our sympathy for this pair of unlikeable characters and until the bitter end we are sat tensely in our seat.

Unstoppable (2010) 

One of the final movies of the well loved Tony Scott's careers, this movie saw thrills and spills by the bucket load. When a reckless rail employee (Ethan Suplee) lets a 39 car train speed onto the main line, it is left up to veteran engineer Frank Barnes (Denzel Washington) and newbie conductor Will Coulson (Chris Pine) to chase it down before it heads for disaster! Ridley's brother never always wowed critics, but his movies always provided get actions and this effort was one his fans could be proud of, particularly the closing stages as Engine 1206 speeds off in reverse to prevent lives from  being taken.

Bridge on the River Kwai (1957) 

While not strictly a train disaster movie, David Lean's classic movie is essential a big countdown clock until the major event. The allies are planning to blow up the bridge that the conflicted British officer Colonel Nicholson (Alec Guinness) has toiled to build. The moments before the explosion hits are still heart stopping to this day as all manner of unseen obstacles seem to get in the way. But the demolition sequence is still a visual wonder and as we see the engine plummet to earth, you still have the urge to cheer loudly! And to think... the production team spent 8 months building it!

Only By The Night: Review of Nightcrawler

Nightcrawler

Director: Dan Gilroy

By Alex Watson

Finding your true calling this world is never an easy thing and some of us chop and change careers as frequently as we change our clothes. Some chosen paths can happen completely by accident and at times they may ones less than desirable. Debut director Dan Gilroy this week shows us an ambitious young man going into the heart of darkness of the LA crime scene is his eye opening thriller Nightcrawler. 

Lou Bloom (Jake Gyllenhaal) is a Los Angeles drifter who is desperate to be a success. One night while driving home he witnesses a car wreck and sees news cameraman Joe Loder (Bill Paxon) filming the carnage. At this very moment Lou realizes that he has found his new career and he sets off starting his company. But his obsession with making the lead story on the morning news will take Lou down some very dark paths as he continues to cross lines into near insanity.

For his first film behind the lens, director Dan Gilroy has created a film that is truly remarkable and his satirical and adrenaline pumping film makes for one of the most awe inspiring experiences of 2014! With a cracking script in its armory, Nightcrawler succeeds as a magnificent character and psychologically driven film which never once dips below riveting. Lou Bloom is an astounding character creation, with thin and almost gangly appearance mixed with his strange and almost stereotypical businessman speak "If you want to win the lottery, you have to make the money to buy a ticket." makes him one of the real antiheroes of years gone by.

When we are first introduced to him, Lou seems to be a man who is desperate to be his own boss. But his eyes go wide with fascination when he views his first news crew and being informed "If it bleeds, it leads!" After that Lou buys himself a fast car, a police scanner and hires a rightly nervy assistant called Rick (Riz Ahmed). From here Gilroy makes a strong commentary on what just what lines can be crossed ethically and morally for viewing pleasure. Each shot he brings to stoney news director Nina (Rene Russo) of blooded victims on the streets ensures ratings go higher and pushes Lou a step further forward. One scene sequences shows him gleefully involved in a chest tightening car chase, but through the stunning camera work from DP Robert Elswit it feels as genuine as any you will see in cinema!

Lou's cross over into near delusion makes Nightcrawler absorbing viewing. With his eyes flared continuously at the thrill of the game and his obsession over his 'company' being a success he goes from being clueless at understanding police radio signals to happily invading or in some cases inventing his own crime scenes. At several points to get the perfect story, but his actions get increasingly erratic and only newsroom guy Frank (Kevin Rahm) seems to be appalled by how low his morals have sunk. Each point where he goes over the boundary, Gilroy pulls it off with such a raw comic feel that we do not know whether to laugh or feel disgusted.

But the principle strength of this film goes down to Jake Gyllenhaal's stunning performance. As Lou he is brilliantly able to bring across his weird and convoluted persona mixed with his high pitched cheap business like vocabulary. The greatest thing about watching him on screen though is the fact that this is a performance that is continually evolving. Although we are perturbed by his oddball appearance and shudder at his intentions, we still yearn for him to make it big and Dan Gilroy deserves praise for making such a character palatable. Gyllenhaal could well be a long shot for awards glory because here he holds the screen with such force it is impossible to look away.

Nightcrawler may not be the easiest viewing you will have this year but it is by far one of the most exciting and brilliantly directed. This film deserves a place among your film collection next to Drive and any other blood flowing movies because it is rightly destined for classic status!

The Stage is Set: Review of Whiplash

Whiplash

Director: Damien Chazelle

By Alex Watson

We have all had that one teacher who is just tyrannical and control the class with a rod of of iron. It forever seems that they feel that the harder they shout, the further fear will push us onwards. The effect always varies and sometimes you can push that one person to breaking point. Director Damien Chazelle this week explores one teacher and pupil relationship where a mentor will stop at nothing, no matter how hard to achieve glory. Prepare for some tense viewing in Whiplash.

Andrew Neyman (Miles Teller) is an aspiring young jazz drummer at Schaffer Conservatory of Music in New York City who yearns for greatness. When his talent is noticed by notorious band conductor Terrence Fletcher (JK Simmons), he offers him a seat in his band. Upon arriving, he quickly realizes that his mentor is one so obsessed with glory that he freely and harshly abuses his students to get desired results! While aware of that his entire future can be cut in an instant, Andrew strives to be the best he can be- but this could all come at great cost!

Whiplash is an intense but ultimately a stunning and dominant piece from Damien Chazelle that completely restructures the music film genre. The opening scene gives a key indicator for what is to come in the relationship between Fletcher and Neyman, as the teacher finds him hammering away late one night. Within seconds he has launched into a verbal tirade and leaves the room. Fletcher is a man who can instantly command attention, clad in his tight black t-shirt and armed with a variety of mean and inventive insults "If you deliberately sabotage my band, I will fuck you like a pig." he proves to be the movies knife-edge!

The scenes in the class room prove to be the real psychological tension of the movie as Fletcher's frightening persona rears its ugly head. The musicians in the band are there to play to complete perfection, even the slightest off key note results in their teacher snatching the air then viciously humiliating them in front of the entire class! From this point onwards, the man proves to be a powerful but destructive force in Andrew's life and although he is pushing him towards his goal, he is also driving him to the limits of control. As Terrence denotes “There are no two words more harmful than ‘good job,’" and although the fear he provides keeps them focused, it is more harmful than he realizes.

As a character, Andrew doesn't always have our complete sympathy because although he goes from a shy young man struggling to ask out pretty cinema clerk Nicole (Melissa Benoist) to practically spilling out his inner ego on stage. Coming from a family of low achievers, including his quiet teacher father (Paul Reiser), his dedication to becoming perfect is one that is troubling throughout. Fletcher's presence haunts the movie even when he is off stage and fearing for his band future, Andrew continually plays hard until his skin bleeds to 'Earn the Part'. The movie's tempo is set very high by Chazelle all the way through Whiplash and we can sense that a conventional happy ending may not in store for either character.

But the end result we are given provides one of this year's most memorable climax's as the two men showdown on music most fitting battleground- the stage! What begins as a seemingly harsh act of betrayal turns into a moment that no one is likely to forget and provides an exhausting but utterly thrilling feel. Terrence is fond of telling Andrew the story of jazz legend Charlie 'Bird' Parker having an cymbal thrown at his head by Joe Jones, without giving too much away I will simply say the legend will come full circle.

JK Simmons makes for a monstrous yet absolutely magnetic presence in Chazelle's film and finally makes the transition from reliable character actor to potential prize contender. A powerful yet horrific force, Simmons blindingly turns in what could prove to be a career defining performance! At long last audiences are witness to what this man can do when pushed into the spotlight, Fletcher is a man so volatile that even Jonah Jameson from Spiderman would recoil in his presence! Up and coming star Miles Teller is equally superb as the fame hungry Andrew. His role is one that is not only physically demanding but also emotionally draining. On both counts, Teller soars highly and shows us a new talent is around the corner- his casting in the upcoming Fantastic Four reboot could prove smart business.

Whiplash is a film unlike any other that you will see this year and through the electrics turns from Simmons and Teller along with the hyper real direction from Chazelle, you are given a picture that will have you attention from the first drum note played! Also it will make you think of the ultimate price of fame and whether it is worth maybe losing yourself?