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!