South of The Border: Review of Sicario

Sicario

Director: Denis Villeneuve

By Alex Watson

Slowly burning tension from the opening frame, Denis Villeneuve delivers one of the finest efforts of 2015 with Sicario. This story of the FBI attempting to bring down a Mexican cartel is one that is thoroughly heart-stopping and excellently creates a sense of unease about the situation unfolding. Aided by some gorgeous and striking cinematography by veteran Roger Deakins and a cracking and unpredictable script by Taylor Sheridan, Villeneuve succeeds in drawing us in a world where the law has been long forgotten. 

Kate Macy (Emily Blunt) is a member of the FBI Kidnapping team, but when a raid in Arizona goes wrong a media firestorm ensues. A Mexican cartel has operated dangerously close to the border which prompts official Matt Graver (Josh Brolin) to convince to join a task force to bring them down. When she arrives in Juarez, Mexico she discovers that this teams approach to bring down the enemy is a bewildering one. Also the arrival of shady operative Alejandro (Benecio Del Toro) only heightens her suspicions. 

"This is a land of wolves" says Alejandro at one stage and Villeneuve early on throws into a world where ruthlessness reigns supreme. A thrilling opening raid on a cartel safe-house sets the tone, purely for the fact the aftermath is one of extreme horror. Shaken by this revelation, Kate desires to do good joining Graven, only to find a more frightening discovery. Everywhere there is a lurking sense of dread and the lack of explanation about Alejandro only adds fuel to the fire. A buttoned down and silence presence who goes "where I am sent" underneath there lies a traumatized and unscrupulous figure who idea of justice is a nauseating one. 

Kate is always struggling to understand what motives are at stake with Graven's operation? When it becomes clear that his wish is to break the rules of engagement and strike fear into cartel hearts, events take a turn into more dangerous territory. One moment while transporting a key figure back to US soil sees them stuck in traffic on the Bridge of the Americas. Knuckles tighten as they look around for potential shooters, only to Kate's horror they casual execute several members in broad daylight! There are blurred lines of procedure and Graven's macho and cynical attitude only serves to push her ideals even further down. 

What starts as a simple operation broadens into a much wider picture and Villeneuve skillfully alert us that wiping out this cartel might be the main idea. Sicario boasts a superb paranoid edge to it and we are able to engage with Kate's fears and doubts about what has become involved with. Villeneuve's shows himself a capable director and masterfully handles the movies heavier qualities with ease. His finale set against an all or nothing raid on a key cartel site is almost like something out a video game with its infra-red camera use. His last message though is the most potent that law is sometimes brutally enforced by the lawless. 

Emily Blunt is an inspired piece of casting for the picture and she is able to bring across a steely resolve mixed with a heavy fragility. Kate is a woman who brings across a sense of confidence in what she wants to achieve, but gradually Blunt gives her character a terrific sense of disillusion in the movies later stage. Josh Brolin is a forceful presence and his jokey and scornful approach to bring down his enemies makes him almost as much of a villain as it does ally.  Benicio Del Toro steals the supporting honors with a masterclass in repressed emotion combined with fearlessness. 

Denis Villeneuve has finally made the cross over from his earlier more psychological work and proves a stunning and adept action thriller director. Sicario is one of the most tense and absorbing films you will have the pleasure of seeing in 2015

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Living in America: Review of Brooklyn

TIFF EXCLUSIVE 

Brooklyn

Director: John Crowley

By Alex Watson

John Crowley's Brooklyn was one of the more charming affairs of the 2015 Toronto Film Festival and thanks to a strong central performance, this coming-of-age story is a sweet and wholesome affair. Although it won't be the most arresting affair of 2015, this movie still accurately portrays the struggles and sometimes overwhelming feel of arriving in a new land. Crowley's direction is steady, but Nick Hornby's script is one that lacks the needed punch in some areas.

Eilis Lacey (Saoirse Ronan) is an Irish girl who has just immigrated to 1950's New York due the generosity of priest Father Flood (Jim Broadbent). Relocating to the heavily Irish neighborhood, Brooklyn she at first is desperate to return her old and trouble-free life. Soon she begins to embrace living the American Dream and romance with Italian-American Plumber Tony (Emory Cohen) blossoms. However, when a tragedy hits back home, Eilis returns to Ireland where soon she faces a tough choice. 

Brooklyn is a movie that is predictable yet wonderful tale of a young woman entering adulthood. Eilis is the main element that keeps Crowley's movie on its toes throughout. When we first meet her she is a shy and retiring girl who feels hopelessly lost in the Big Apple. Sat nervously around the table at her boarding house with other gossiping girl residents, she longs to go home. When Eilis begins to broaden her horizon the movie takes on a wonderful naturalistic feel. Through this she begins to excel at her job at a department store and while taking a bookkeeping course she discovers brains she never knew possible. 

Meeting Tony is the crossing point where Eilis grows from a girl lost to a woman on the cusp of entering a new world. Tony is a man who although very much blue-collar, is a considerate and impossibly lovely. He is very much the reason she begins to open her eyes to the wonderful life opportunity she has. Together this pairing lifts the movie from above ordinary ground and allows the story to glide along nicely. The pangs of first love are one that are truly heart grabbing and will no doubt melt even the coldest of hearts. 

Smartly Crowley and Hornby change things up in the last act as a family tragedy forces Eilis to return home. While back her native Emerald Isle, she cruelly comes across the perfect life she would have dreamed of in her small town. Another challenging factor rears its head in the shape of Jim Farrell (Domnhall Gleason) a man from a wealthy family. Jim is sophisticated, well-educated and is one of the villages most sought after bachelors. In short, he is all the things that Tony is not and Eilis slowly finds herself more taken with her old life. Although she assure people she will shortly be returning, a lingering doubt soon creeps over. 

This movie is a perfect star vehicle for demonstrating the talents of Saoirse Ronan and once more the talented Irish actress is a formidable presence. Firmly carrying the movie from the first frame, Ronan is an actress who is able to effectively convey the fears, doubts and later joys of Eilis. One of the growing talents in the film world, this movie is one she shines brightly in. Emory Cohen also does well as Tony is able to bring across a real easy-going yet committed feel to his character. Julie Walters once more is a welcome presence as Eilis very stern yet motherly landlady Madge Kehoe. 

Brooklyn is a movie worth seeing purely for the powerful performance by Ronan. Crowley may have won hearts in Toronto, but I wouldn't expect to see this nominated movie come awards time. For anyone who has ever found themselves alone in a strange land, this will make for very familiar viewing!.

A Boston Tale: Review of Black Mass

Black Mass

Director: Scott Cooper

By Alex Watson

A powerful central performance from Johnny Depp brings Scott Cooper's picture, Black Mass to life. The reign of James 'Whitey' Bulger in South Boston was a long and brutal one. Not helped by the fact this man had free rein from the FBI. Cooper is gives a bold and bloody depiction of one of most notorious gangsters in US history. An intelligent script from Jez Butterworth and Mark Mallouk, breathes new life into this genre and goes to show that gangster influenced through other means than money and violence. 

James 'Whitey' Bulger (Johnny Depp) rules South Boston with an iron fist and through the 70's and 80's it became his personal playground. While his brother Billy (Benedict Cumberbatch) became a state senator, Jimmy decided to keep things in the neighbour. Former child friend turned FBI agent John Connolly (Joel Edgerton) has a big idea. After great bargaining he convinces Jimmy to become a FBI informant, which allows him to clear his rivals. However, soon the bodies begin to pile up and Bulger soon abuses his immunity from prosecution. Soon loyalties will be tested as the FBI begins to wise up. 

Black Mass is a film filled with all kinds of sharp turns and shocks. There is a heavy irony hanging over Bulger who with all his heart despises rats but yet he has become to biggest rat in the city. Bulger Throughout he is a nerving presences with his shaved head and piercing blue eyes. Cooper effectively nails his convoluted persona. At first he is the perfect gentleman, but the next moment he is putting a bullet through your skull. One dinner table scene sees him give a thinly veiled threat to a FBI agent for divulging his family secret for cooking steak and for rolling over so easily. In this moment his cold gaze is utterly terrifying as he says "Just saying... can get you buried real quick!" 

Bulger isn't made out as an out-and-out psychopath and Cooper invests wisely in bring forward the trauma of losing his young son. The key moment that perhaps breaks his spirit is when his young wife Lindsey (Dakota Johnson) vows to 'pull the plug' on their boy's life support. He is a man beloved by his community who despises the Italians and especially the British. One small but vital sub-plot sees him proudly selling arms to the IRA.  His brother Billy has in his eyes become one of the smug members of Cambridge, Mass. Throughout his older brothers actions are bane on his political career, but Billy takes no action because "Jimmy's business, is Jimmy's business." 

Connolly is a man who believes in the loyalty of the neighbourhood and is in awe of his former friend. There is a alpha-male feel all throughout between these two figures and at times Connolly feels like the little boy still sucking up to the school bully. All around the bureau there is a feeling this will be a costly expenditure. Bulger fails to see becoming an informant a betrayal because it is not ratting. Also it gives him his goal of finally being rid of the Costra Nostra in the north end. Soon it becomes clear to the FBI that his 'intel'  has been nothing more than smoke and mirrors. Connolly throughout is under the same delusion as Jimmy that everything will stay hidden. He still fails to see that his former friend has done nothing but play him and that he idolizes a man who has introduced drugs to kids all around his old neighbourhood. 

Johnny Depp gives an Oscar quality performance as Whitey Bulger in Black Mass. A gripping presence throughout Cooper's movie, Depp shows the type of menace he is capable of pulling off and as Bulger he provides a wonderful frosty chill. Depp also appears comfortable with handling the heavier portions and his handling of the grief and devastation that Bulger feels at the loss of his son is truly magnificent. Joel Edgerton also continues his fine run of form and as Connolly he gives a wonderfully macho performance. This manis almost the villain of the piece due to his willing protect of a real monster. Edgerton gives him a likeable arrogance where even the most pessimistic can respect his wish for advancement. 

Black Mass is one picture that we can at least expect to see in the acting categories come awards season. Johnny Depp may have had a couple of wobbling outings before, but this performance sees him climb right back on top! 

City of Ghosts: Review of Spotlight

TIFF EXCLUSIVE

Spotlight

Director: Thomas McCarthy

By Alex Watson

Thomas McCarthy's movie Spotlight is one that gives a powerful voice to the victims covered in the Boston Globe's 2001 Pulitzer winning campaign. All the way through this movie treads a fine line between what journalistic boundaries are allowed to be crossed. It may be lacking the needed tension and the lead characters are not nearly as well-developed as we would like. But the feeling of past trauma's being painfully dragged forward is an emotional force that drives the movie. 

Boston Globe reporters Walter Robinson (Michael Keaton), Sasha Pfeiffer (Rachel McAdams) and Michael Rezendes are all members of the Spotlight section. When their new editor Marty Baron (Liev Schreiber) takes an interest in an old case that hints at a sex abuse scandals involving catholic priests, they begin to dig deeper. However, the further they go old wounds become reopened and throughout their investigation it becomes clear the rabbit hole goes further they ever imagined! 

One of the main strong points of Spotlight is the feel of the close-knit community of Boston that is key to their investigation. People in this heavily catholic city do not like talking, especially when it involves speaking up about past trauma's. Soon it becomes apparent that this paper was tipped off about this scandal years before, but chose to bury it. Baron although a quiet almost background like figure is the one who gets the ball rolling. The statues of limitations is largely biased against survivor claims and it becomes clear that some lawyers are willing defending guilty clergymen to line their own pockets. Only determined lawyer, Mitchell Garabedian (Stanley Tucci) is willing to fight to get the case tried in open court. The legal obstacles both progress and hinder the story and in places make the movie feel longer than necessary

The lead characters are the ones given the principal focus and this does slightly interfere with the narrative. Also they do not feel nearly as explored as they could have been, Rezendes and Robinson are both weary and burned out men who live for their jobs. Sasha while her uncertainty about her catholic faith makes for an interesting side note isn't really a character who holds our attention. McCarthy does well keep the movie driving along despite a slightly stalling feel story wise. His movie does contain some real stand out scenes which have the ability to shock, such as Sasha's interview with an old priest who happily admits to molesting boys. The scene is so tongue in cheek, you wonder if should dare laugh at such things? 

Overall Spotlight is a strong effort from Thomas McCarthy and he does succeed in shedding a heavy light on the effects of the abused, many of whom were kids from tough neighborhoods seeking comfort. As one survivors puts it "It was like God coming to your home" and their betrayal combined with their lifetime of shamed silence have torn lives apart. The voices of the innocent are ones that touch the central trio greatly and in the wake of events such as 9/11 occurring, the desire to bring forward the injustice suffered is always burning. There are always mentions that high up church members were aware for years of scandal happening. Soon into McCarthy's film, you get the distinct impression that God has abandoned this city long ago. 

Michael Keaton keeps up his fine form after his great turn in Birdman last year. Robinson is a jaded editor of a small section who is just trying to do the right thing. Keaton however doesn't go for fireworks and instead comes off as the cool and collected member of the picture. Mark Ruffalo is the figure who truly holds our attention as Rezendes and throughout is a ball of energy. His bitterness towards his betrayed beliefs in his catholic upbringing makes for some intense work. Ruffalo could well be an interesting consideration for a supporting actor prize. Stanley Tucci once more give a scene stealing masterclass as Mitchell Garabedian. His wish to see wrongs righted, no matter what the cost marks him out as one of the few honest men around. 

Thomas McCarthy is slowing adapting himself to life in the mainstream and Spotlight is a movie that is a puts him on course. It may have its flaws, but you cannot deny the power of story telling here. The people involved in this scandal were put to justice, but the scars of the actions taken will live forever.

On The Road: Review of The End of the Tour

End of the Tour

Director: James Ponsoldt

By Alex Watson

A pair of tour de force performances bring director James Ponsoldt's End of the Tour to life.The story focuses on the famous road trip between famous writer David Foster Wallace and Rolling Stone Journalist David Lipsky. From this pairing there is a wonderful mixture of natural humor combined with some intense soul-searching. Both men are polar opposites, yet somehow both want what the other has in life.

After his début novel, Infinite Jest makes waves among critics and the best seller list, writer David Foster Wallace (Jason Segel) becomes an overnight sensation. Fascinated this man and immensely jealous of his talent, journalist Dave Lipsky (Jessie Eisenberg) requests to write a piece on the man. Joining America's new growing talent is both an interview and a bonding experience and Lipsky will soon find that the man he admires in perhaps a very different man underneath!

James Ponsoldt has made a career through accurately portraying people and their internal conflicts. His breakthrough film 'The Spectacular Now' was a heart rendering vision of crumbling youth. In The End of The Tour, he seizes upon the heart and soul of Wallace. Principally the movie is all about the two men simply sitting and talking whether it be front of the TV, on a plane or in The Mall of America. From these conversations we get glimpse into the souls of both men, Lipsky both envies and admires his rival and yearns for life he has. Underneath the gentle and laid back image of Wallace is a man at war with himself and secretly is perhaps drowning with his new fame. 

Although the pair of men are on level terms as men, Lipsky is under pressure to dig deep to get the revealing interview he needs. The moments where he tries to get what he needs, Ponsoldt doesn't give to the audience easily and he will take us on a winding road until we hit the needed point. Wallace with his answer is always coy, he was a drinker but wasn't an alcoholic and at the height of his depression his time on suicide watch was because was "really sad." Wallace is shown to be a celebrity who was just well before his time and is unable to comfortably speak with Lipsky without calculating what his next move will be? Or how will his words be taken when this all goes to print?

There is a touching and genuine feel to The End of The Tour and this is what makes the film truly soar. Both men will never be able to match each other on talent, a fact that continually frustrates Lipsky. Watching the pair together is like watching distant high school chums nervously making small talk at the 10 year reunion. Ponsoldt makes the most banal of conversations seems witty and throughly engaging, Wallace's speech about why he has an Alanis Morrisette poster on his wall will make you smile for long after. Dave Wallace's family hasn't endorsed this piece, but this movie is not just about his celebrity or the tragedy that would meet his fans years after. Ponsoldt is simply telling a story of two men and that simplicity is one that works tremendously. 

Jason Segel puts in an early contender for the awards seasons with a marvelous turn as the noted writer David Foster Wallace. A gentle yet forceful presence, Segal effortlessly holds the screen throughout and gives a superb presentation of the inner doubts and fears of this man. Your uncle Marshall finally made it kids! Jesse Eisenberg also matches him with a turn of scarcely repressed jealousy. He both hates and loves Wallace as he does himself and Eisenberg does a great job of holding the lid down on his longing for a better world. Together these two make a wonderful easy-going duo who are able to verbally joust when the movie needs it best. 

Whether The End of the Tour will see any serious attention come Oscar time is up for debate. However, it is still one of the most likable and emotionally grabbing films you will see this year. Anyone who doubted Jason Segal is in for a big surprise.

Care in the Community: Review of London Road

TIFF EXCLUSIVE

London Road

Director: Rufus Norris

By Alex Watson

While it scores full points for originality, Rufus Norris' musical London Road is one that will certainly divide TIFF viewers into two camps. Set against the five murders that occurred in Ipswich, Suffolk in 2006 this piece originally was a hit on London's West End. Making into a feature film is an idea that both works and in places slightly misfires. Overall though it is hard not to respect the bravery and drive in Norris for taking the idea forward and creating one of the most offbeat movies of 2015. 

In 2006 Ipswich, the residents of London Road live in fear of an apparent serial killers who is murdering female prostitutes. After the arrest of neighbour Steve Wright in connection with the crimes, the street is then put under scrutiny by both media and the public. As the various people including Julie (Olivia Coleman) deal with the aftermath, the healing process will be a difficult one. 

Admittedly taking such a dark subject and turning it into a musical is one idea that strangely intrigues. Using the same dialogue taken from the actual residents in the various songs is something that does become repetitive and slightly annoying after a time. London Road is a mixture of impressive and bizarre numbers, one of the high points being a brief but awe-inspiring cameo from Tom Hardy as a cabbie obsessed with serial killers. Norris does inject a great range of feelings and does find humor in the most unlikely of places. Try sitting through a news reporter finding new ways to say 'Semen' on air without laughing.  

One point this movie does firmly capture is the immense fear of the community during the height of the murders. People are constantly looking over their shoulder and wondering if the man standing next to them could be the man committing the monstrosities. When the killer is finally brought forward, the intense media exposure and the fracture of community life is one that is excellently portrayed. The members of this street complain bitterly about the problem with prostitutes, but the range in remorse is one that heightens the characters. Some act with pure disgust while others subtly hint at a hidden joy of being ridden of the problem. 

While it may both charm and frustrate viewers in equal doses, an excellent cast led by Olivia Coleman as the worried Julie do a good job of holdings together. From this Norris' film is able to cross the boundary from quirky to a thought-provokingand interesting watch. London Road may not see much action in North America, but it has so far found buzz at TIFF. The sense of community recovery is one element the film scores highly on. While trying to keep up normality through hanging gardens and fish and chip suppers, this street has been perhaps irreparably strained. Norris does well to remind us that while these people struggle on, the lives of the lost are not forgotten. 

One of the selections for City to City section at this years film festival, Norris' picture is worth a look but I cannot guarantee what your reaction will be when you exit. Who would have thought that murders could contain musical numbers?

Best Movie Interrogation Scenes

Doctor Zhivago 

The encounter between Yuri Zhivago (Omar Sharif) and unpredictable war criminal Strelnikov (Tom Courtenay) is one of David Lean's most tense scenes. While in transit away from Moscow, Zhivago accidentally stumbles into the path of Strelnikov's armoured train. What follows is a slowly simmering tension as the man he once knew as Pasha Antipov decides his fate.

Casino Royale 

In Daniel Craig's James Bond world, things can go down a dark path. His interrogation with baddie Le Chifre (Mads Mikkelsen) is one that is truly haunting. While some evil masterminds prefer more delicate methods of torture, this one-eyed villain is much more down to earth. Director Martin Campbell also inject some truly funny humor in the most unlikely of places. You'll never look at rope the same way again!

The Limey 

The high point of Terrence Stamp's career has been this effort from Steven Soderbergh. When ex-con Wilson travels to LA to investigate his daughters, he is meet with a frosty reception. After trying to get answers from some thugs in a warehouse, it appears that he has met a dead end. What these heavies underestimate is that a desperate man can be a deadly weapon! All together now... "TELL THEM I'M FUCKING COMING!"

Reservoir Dogs 

In what has become one of Tarantino's most notable scenes, Mr Blonde (Michael Madsen) decides to have some fun. His idea of torture is one that is both frightening and engrossing. Soundtracked to "Stuck in the Middle with You" people now shift in their seats when this tracks starts up. Tied to his chair and missing the information these characters dearly need, our cop hostage is powerless to escape.

LA Confidential 

When three black suspects are picked up for a murder at the Night Owl coffee shop, it looks an open and shut case. What one of the characters doesn't count on is the hot-head nature of Bud White (Russell Crowe). A fierce hater of woman beaters, when this suspect cries "I just wanted to lose my cherry!" White will turn a winning situation into something a whole lot scarier!