Hidden Figures brilliantly brings to light the essential role played by three African-American women during the Space Race at NASA. A story previously unknown to the public, all three helped change the boundaries of both gender and race during their time at this institution. Director Theodore Melfi brings across as a heartfelt feel to this picture and wonderfully lets the story tell itself rather than going for an overblown approach. The work these three women did was nothing short of miraculous and John Glenn's now famous flight might have been a far different story if not for their actions.
Katherine Goble (Taraji P. Henson), Mary Jackson (Janelle Monae) and Dorothy Vaughn (Octavia Spencer) are all employees of NASA. All feeling frustrated by the lack of advancement for both women and African-American's, each will take liberties into their own hands to get their voices heard. Space Director Al Harrison (Kevin Costner) is concerned with the upcoming space flight by John Glenn (Glen Powell). With the world watching, all of these three women will combine to launch one of the most anticipated moments in history.
The strength of Hidden Figures come from the toughness of each of the three leads. All are brilliant and brave in their own ways, Katherine is a mathematical genius whose gift is frowned upon by her all male superiors including insecure Paul Stafford (Jim Parsons). Dorothy is the defacto leader of a team of 'Computers' who is repeatedly denied promotion despite being overqualified. Sharp-tongued Mary while encouraged to be an engineer is denied due to silly technicalities. Melfi presents each of these characters with great authenticity and doesn't succumb to the urge to phone in the message. Set against the era of segregation, their battle isn't just in the workplace, it's all around. Thankfully the people around them are not presented as outright racists. Characters such as Kirsten Dunst's snooty Vivian Mitchell are ones bound by tradition and protocol.
Against the clock with the space race, the US is losing ground to the Soviets once Yuri Gagarin goes into orbit. Al Harrison is a boss that at first is concerned only with the job, once he gets wind of Katherine's ability with numbers it makes things a whole new ball game. All on her own at first, she receives a cool and hostile welcome. The only coloured bathroom she can use is half a mile away at her old building. She looks destined for obscurity until both John Glenn and Harrison see that the importance of this mission hinges on her. His defence of her isn't one where the sparks fly and no passionate speeches are given, just a quiet assurance that her qualifications are essential. Mary is also fighting her own battle because her wanted promotion depends on her taking advancement courses at an all white school. Mary is someone who doesn't need people fighting in her corner, through using her own words and her natural instinct is able to overcome anything.
Hidden Figuresis a tribute towards those who refused to be confined to the shadows. Battling prejudice throughout, each member shows their spirit and determination when times get hard. Dorothy in particular comes across as a real hero when she learns to program IBM machines better than the men who built them. It is impossible to think of John Glenn's flight without their involvement. Katherine's maths is by the far the element that makes the difference because although Stafford arrogantly states his math is perfect and tries to black out key 'classified' information, Katherine repeatedly sees the flaws. The men in their lives are also quietly brilliant with a wonderfully romantic turn by Mahershala Ali as new lover Jim Johnson. Playing both father figure to her three daughters, Jim is the rock she needs and this story is one that gives this picture a sweet feel.
Three magnificent turns are what makes this picture so potent. Taraji P.Henson is Oscar worthy as the brainiac Katherine. Giving her a silent determination, Henson gives a turn that has both heart and great charm. By far the strongest character of the bunch, this could open new doors for this actress. After impressing as a surrogate mother in Moonlight, Janelle Monae is a force of nature as Mary Jackson. Gifted with a quick wit and even quicker tongue, this woman is unafraid to go it alone when it comes to her dreams. Octavia Spencer could well be up for supporting honours again with another tough and frank turn as Dorothy. Authoritative whenever she is on screen, this kind of role is second nature to Spencer. Kevin Costner is also impressive as boss Al Harrison and shows how memorable he can be with the right type of part.
Hidden Figures is a picture that stands out on its story alone and is one that could see some love when it comes to awards season.
Venturing into Star Wars spin-off territory seemed like a dangerous thing at first but Rogue One shows us what wonderful nostalgia these tales can bring. Director Gareth Edwards directs this piece with a lot of love and affection and his control of the final act will warm Star Wars fans hearts. Losing none of its magic or its ability to give us characters we deeply care for, having stand-alone pictures could be a glorious thing. Set right before the events A New Hope, the questions fans were dying to find out are superbly brought forward and Edwards brilliantly joins the dots.
Jyn Erso (Felicity Jones) is the wayward daughter of Imperial scientist Galen Erso (Mads Mikkelsen). After learning of an upcoming weapons test, the Rebellion soon learns that their new space station The Death Star is capable of destroying entire planets. Anxious to find the key to destroying this station, Jyn is forced into the path of Rebel Captain Cassian Andor (Diego Luna), Imperial defector Bhodi Rook (Riz Ahmed) and their sharp-tongued robot K2S0 (Alan Tudyk).
Perhaps the strongest element to Rogue One is its premise, early on Jyn sees her mother murdered and father reclaimed by villainous Director Orson Krennic (Ben Mendelsohn). She is not for the rebellion and is just a criminal floating through life. When she is coerced by Mal Mothma (Genevieve O'Reilly) to join the Rebellion she begins to see the bigger picture. Originally tasked with convincing Rebel extremist Saw Guerrera (Forest Whitaker) to aid their risky venture- Jyn is trust into the path of Cassian. During this sequence, we see a whole new side to the Rebels. Guerrera is a man who believes in making Imperial cooperators suffer and his approach makes him a feared man. There are no lightsabers drawn (well thats not exactly true but I will avoid spoilers) and most of the battles take place on the ground. Particularly when blind warrior Chirrut Imwe (Donnie Yen) gets involved in a thrilling shoot-out on the planet Jedha. Edwards isn't concerned with stretching the story out and his no-nonsense approach works wonders for Chris Weitz and Tony Gilroy's well-paced script.
The new central cast is remarkably likeable, but have their limelight stolen by the hilarious K2SO. Coming off as C-3PO's sardonic relative, his calm and assured tone and clever wit is endlessly hilarious. A reprogrammed Imperial droid, KS20's is blunt and observant with a love of stats, but surprisingly deep in some places. Cassian and Jyn but heads almost immediately as their missions differ on many levels. Jyn merely wants to rescue her beloved father, while the Rebels perceive him as a big threat to their safety. Both have paid the price to get to this point, but neither can succeed without the other. Bhodi is a likeable character, but his risky move to defect from the Empire is not fully explained. Lurking in the shadows, Krennic comes across as a smug overachiever that is desperate to be recognised. The Empire merely views him as a nuisance, but unfortunately, his creation of the Death Star has been key to crushing rebel scum. Gareth Edwards makes the reappearance of Darth Vader a chilling and memorable one. Only on-screen for a matter of minutes, hearing James Earl Jones' iconic voice will send shivers down your spine.
Rogue One's mightiest achievement comes during its beautiful and exhilarating third act which is a love letter to all Star Wars fans everywhere. Stunningly recreating an X-Wing/Tie Fighter dog fighter during the film's climax and the reintroduction of several forgotten characters will have us all punching the air in joy. The effects are a visual treat for the eyes and we are transported back to that happy and joyful feeling we once had watching AT-AT's reigning havoc upon Hoth. All the answers we ever wanted are there and they feel utterly conceivable. While the story might dip in places and the decision to digitally recreate some treasured old characters might not appear particularly wise, we never feel short changed in this saga. Many narrow-minded fans whined about having a female hero, but Jyn feels worthy of anchoring it. Cool under pressure and willing to go the extra mile, she gives Rey a run for her money. truth this one is a team effort and how they combine to repeatedly stump Empire attacks is smartly put together.
As Jyn Felicity Jones shows her blockbuster potential. Before you would never have considered for this type of part, but through a gutsy turn Jones fits well into this universe. Diego Luna is equally impressive as the conflicted Cassian, but this is very much Alan Tudyk's picture. Sporting a brutally honest sense of humour, KS20 provides much more than the comic relief. After his excellent voice work as Sonny in I-Robot, Tudyk should just voice every robot in cinema from now on. Ben Mendelsohn makes for a good villain to play off against and Krennic is like watching a spoiled child in charge of the most powerful weapon in the Galaxy.
Rogue One has produced the best outcome we could wish for in this new era of Star Wars prequels. We now have hope for the upcoming Han Solo picture because if all spin-offs are like this one, we can breathe easy. Start counting the minutes to December 15, 2017 everyone! Episode VIII is coming.
2016 was a sad year in terms of deaths as we said goodbye to legends such as David Bowie, Alan Rickman and Prince. It was also a devastating summer for DC as both Batman vs Superman: Dawn of Justice and Suicide Squad tanked with critics. However, we have emerged with one of the most competitive Oscar races in recent years and once more had it proven that The Avengers rule the roost of summer movies. Here are my highlights of another great film year.
Top 10
1. La La Land (USA.Dir: Damien Chazzelle)
Few pieces of cinema were as hypnotic as Damien Chazzelle's musical. Demonstrating the addictive highs and brutal lows of a relationship, our hearts went through the grinder. A modern musical classic, each song and dance number will leave you wishing life had more spontaneous moments. Emma Stone and Ryan Gosling made for an impossibly cute couple and together they made 2016's best on-screen pairing. Be prepared to go through the entire emotional spectrum and allow yourself to be entranced. Damien Chazzelle has proven himself in the musical category- what lies next? Comedy?
2. Manchester By The Sea (USA/Dir: Kenneth Lonergan)
Giving the picture only the runner-up spot was a tough one indeed.The sheer power of Kenneth Lonergan's film cannot be denied. Casey Affleck gives the performance of a lifetime which is a masterclass in suppression and grief. Forced into being a reluctant father figure, his character cannot be free of his past but cannot embrace the future. Lonergan's potent depiction of the how our ghosts can never truly leave us left audiences in bits. It also showed us the very meaning of family and how despite our differences, we are always linked together. 3. Arrival (USA/Dir: Denis Villeneuve)
After claiming my top spot last year, Canadian Denis Villeneuve is once more in contention. Delivering this year's smartest and most engaging thriller, this might be the closest example of the possibility of alien contact. A top draw performance from Amy Adams was the beating heart of Villeneuve's picture. Forging a bond with her alien subjects, Adam's Louise Banks felt like the one woman who was destined for this honour. Continually nerve-jangling as the ambiguity of this mysterious earth visit plays out. This picture has us wondering how alone we are in the big universe? Best start reading up on alien signs, it might come in handy if they should pay a visit for real!
4. Moonlight (USA/ Dir: Barry Jenkins)
The best-reviewed movie of the year, Barry Jenkins' movie was something very special indeed. His story a young boy navigating the tough roads of being a homosexual in a rough Florida slum was engrossing. The Brutality of youth and the harsh realities of growing up were painful brought forward as young Chiron gets the hard knocks education. Mahershala Ali was the father figure all potential gangster dream of and Naomi Harris was the unbalanced mother all boys fear. Jenkins picture was a beautifully realised one and few pictures made better use of the carefully crafted camera work like this one. An unlikely but worthy story subject, Jenkins has finally arrived on the Hollywood scene.
5. Nocturnal Animals (USA/Dir: Tom Ford)
From fashion designer to Hollywood director, Tom Ford has had quite a ride. Nocturnal Animals was a blood pumping thriller from its bizarre opening of a fat, naked woman dancing with sparklers. Endless tense and sporting superb multiple interpretations, Ford's picture was one that played on your mind for days afterwards. Is the horrifying story of Texas revenge portrayed in Jake Gyllenhaal's book a reality? Or this is a sly dig towards his marriage to ex-wife Amy Adams? Frequently the lines between reality and fiction become crossed as Ford's two movies in one intertwine.
6. The Revenant (USA/Dir: Alejandro Gonzalez Inarritu)
Finally, this was the role that won Leo DiCaprio as deserved Oscar and this was quite possibly the most stunning visuals of 2016. Alejandro Gonzalez Inarritu's inspiring story of survival secured him back to back Oscars. Watching Leo's Hugh Glass being viciously mauled by a bear was hands down the most uncomfortable viewing experience this year had to offer. Literally, this explorer goes to hell and back multiple times and still keeps on crawling. Cinematographer Emmanuel Lubezki was the real star of this picture and his gorgeous photography makes even the worst hardship seems wonderful. You will not see a more committed performance than this one- worth the wait Leo!
7. Hell or High Water (USA: Dir David Mackenzie)
This tale of Texas revenge was a brilliantly smart one. Appearing as your standard bank heist thriller, the true genius of British director David MacKenzie's film won't be immediately apparent. Linking up with Sicario writer Taylor Sheridan, the result was a wonder story of brotherly love and bank robbing. Chris Pine and Ben Foster might have been the stories conscience, but Jeff Bridges calm and assertive Texas Ranger was what stole the show. Equally heartwarming and thriller, this picture also had a lot of laughs for good measure. Do not read up on this film before viewing because the revenge tactic is a beautiful one that raises a middle finger to the real crooks. 8. Jackie (USA/ Dir: Pablo Larrain)
Few first ladies were more iconic than Jackie Kennedy and Natalie Portman's performance as the former Mrs Kennedy was a mighty one. Pablo Larrain drags his audience into a wife's worst nightmare and Portman shines brightly bringing her trauma and distress forward. Afraid of JFK's legacy being cast aside while the grieves, Larrain makes full use of Jackie's determination to see his final send off being memorable. Rarely do biopics like this feel like genuine reconstructions and you will like an unwanted guest watching her cling to her husband's lifeless body during that fateful day in Dallas.
9. The Hateful Eight (USA/ Dir: Quentin Tarantino)
Movies like this one remind us of what a great writer QT can really be. His tale of eight mysterious strangers cooped up during a heavy snow story was one that always kept us guessing. In its 70MM glory, watching the blood splatter was a thrilling experience and it lets way to a magnificently claustrophobic feel. After the script was previously leaked, it seemed like this project had hit a dead end. Never one to take things lying down, Tarantino thankfully resurrected this from the dead and this tale of continuous side switching might have been lengthy- but it never once got old. Try listening to Samuel L Jackson's 'Black Dingus' story without squirming!
10. Gleason (USA/Dir: J.Clay Twill)
Rarely does a documentary picture get under your skin quite this like one. The tale of former NFL player Steve Gleason being diagnosed with ALS will ensure there are no dry eyes in the house. A humorous and forever spiritly subject, Gleason refuses to let his declining body beat him down. Facing the prospect of not seeing his newly born son Rivers grow up, Gleason is determined to make the most of his time on earth and together with his incredible wife Michel, this duo puts up a good fight. All throughout Steve battles with his fears, but always seem to find a joke in-between. His tear-jerking interview with Pearl Jam's Eddie Vedder is one of the impassioned moments this picture has to offer.
Best of the Rest 11. The Birth of a Nation (USA/Dir: Nate Parker)
Overshadowed by the controversy of director Nate Parker's past, the tale of former preacher turned slave rebel Nat Turner was a jarring one. Showing the violent and often poor living standards African-Americans were forced into, this picture was a racially charged timebomb. 12. Christine (USA/ Dir: Antonio Campos)
The suicide of Christine Chubbuck shocked TV audiences back in 1973, Antonio Campos brought us one of this year's most tragic bio pictures. Rebecca Hall was finally given a role to sink her teeth into and as the fated Chubbuck she showed us a fame desperate woman struggling to connect with people. 13.The Innocents (FRA: Dir Anne Fontaine)
Shocking yet beautifully stark and uplifting, Anne Fontaine's tale of a Belgian nurse tended to a convent of raped Polish nuns hit home hard. A viciously honest performance from veteran Polish actress Agata Kulesza was what gave the picture its bite. Especially when she what homes she really gives the newly born babies.
14. The Nice Guys (USA/Dir: Shane Black)
Not many directors in Hollywood can give the hard and funny approach like Shane Black. This story of two vastly different private eyes thrust into each other paths was a belly full of laughs. Russell Crowe and Ryan Gosling together made for a wonderful awkward pairing- please give these guys a sequel!
15. The Witch (UK: Dir: Robert Eggers)
Possibly the scariest and most unorthodox tale of the year, Robert Eggers movie was a psychological masterstroke. Making full use of Ye Olde English and the Puritans setting, Eggers continually found ways to mess with our heads and refused us the closure we so desperately need. Always be wary of buying black goats in future! Male Star of the Year: Ryan Gosling
We couldn't get away from Ryan Gosling this year as he dominated our screens. Hopelessly goofy and clumsy in The Nice Guys (don't let this guy into a bathroom stall alone) and sporting his trademark charm and suaveness in La La Land- Gosling is the man to beat in Hollywood right now. Few actors have a presence like this man and can hold our attention no matter what the film. Gosling is a man who likes to find ways to keep surprising us- keep it going buddy.
Female Star of the Year: Amy Adams
November was very much Amy Adams month and she gave us a big one-two combo. Both roles showed what sets her apart from other performers in this game and Adams gave two very different performances. Smart and assured in Arrival and filled with regrets and doubt in Nocturnal Animals. Adams is a true chameleon in every sense of the word- hopefully, 2017 will finally see her rewarded at awards season.
Best Director: Tom Ford- Nocturnal Animals
After impressing us with A Single Man, many wondered if there would be a Tom Ford follow up. With Nocturnal Animal's he gave us one hell of a return and his fascination with the ugly side of life was impossible to look away from. Visually jarring and heart racing, Ford has emerged from the fashion world as a major talent behind the lens. You can only wonder what his next opening scene will feature? A one-armed man directing traffic on rollerskates?
Scene of the Year: Arrival- First Contact
Gripping from even before Louise Banks (Adam Adams) and Ian Donnelly enter the spaceship, going into the unknown made audiences eyes bulge. Making full use of Johann Johansson's blasting soundtrack, Denis Villeneuve is sending us deep into the heart of darkness. What lies beyond the white screen? And will they get out of this ordeal intact?
Stellar work from Natalie Portman brings American's most famous first lady to life.Jackie is a touching replication of a woman going through her darkest hour. Chilean director, Pablo Larrain expertly intercuts through three key periods in the life of Jackie Kennedy. What follows is a testament to the devotion of one woman to her husband even in death. Mrs Kennedy worked tirelessly following JFK's death to honour his memory and her fierce desire makes this one of the strongest films of 2016.
Jackie Kennedy (Natalie Portman) is recounting the days before and after her husband's assassination in 1963. Telling her story to life magazine journalist Theodore H White (Billy Crudup) she aims to give an insight into that terrible time. Barely coping in the wake of this tragedy and the nation on high alert, Jackie is determined to give her husband a proper burial. With both her brother in law Bobby (Peter Sarsgaard) and other key members fearful of more trouble, she faces a tough battle.
Pablo Larrain doesn't take the linear route with Jackie and he and writer Noah Oppenheim decide to focus on three very different moments. The story mainly centres around that notable day in Dallas and watching Jackie clutching her husband's lifeless body wearing her iconic pink Chanel suit is heart-rendering. Even more so is watching her wiping the blood off her face while utterly traumatised. We also get glimpses into happier times such as her famous TV tour of the White House. The aftermath of JFK's assassination puts the entire nation in an emotionally fragile state. Jackie is a woman consumed by grief and barely keeping above water and is growing increasingly resentful with people's desire to shut her away. Her interview with Theodore is a tough nut to crack because he has to contend with a woman on her guard. While tearfully describing her words she spoke whilst John was bleeding to death, she shakily looks to him stating "Don't think for one second I'm going to let you publish that,"
Larrain also brings to light Jackie's confusion over her identity now she is no longer the first lady. The scenes alongside John Hurt's priest, Father Richard McSorley tap into the psyche of what her legacy really means? The dramatic weight of some scenes is sometimes carried without a word. During one scene she aimless wanders the White House taking pills and vodka while 'Camelot' plays overhead. All of her doubts, wonders and questions of how her husband will be remembered are beautiful expressed. The way the camera stays close to Natalie Portman draws us closer into the conscience of this famous figure. This effect feels fullest while we watch the bullet hit her husband's skull and in an instant her world is ripped apart. The audience feels like an intruder in a person's most private moment. Her relationship with Bobby also adds some family tension as he is sometimes overprotective nature makes her feel trapped.While his intentions mean well, he comes across being almost a sensor when he tries to keep Lee Harvey Oswald's death a secret.
The real firepower in Jackie comes from her desire to give her husband the send off she wants. Scared that the man she loves has already been consigned to history, Jackie refuses to let his memory be tarnished. Refusing to let her be alone for a moment, we are breathlessly drawn into her world and we see a soul that cannot rest. All throughout Jackie has to contend with the danger of being out in the open, with the nation still reeling staff are scared of another attack. Through her softly spoken tones, the former first lady makes the biggest waves. She will see this day through, the consequences be damned. Larrain's real mastery comes from how he portrays the suppression of her suffering during this crisis. Forced to keep up appearances, Jackie is very much the figurehead of JFK's legacy and on her strength of character alone this film carried forward. Few first ladies are as fondly remembered as Jackie Kennedy and this movie surpasses the boundaries of the average biopic film. Rarely do we get such a real glimpse into such an event, Larrain ensures out hearts go with Mrs Kennedy.
It feels like no-one else but Natalie Portman could have succeeded as Jackie. Portman perfectly personifies the horrific tragedy this woman suffered. Nailing Kennedy's iconic tones, this performance is one that is not only complex to pull off but requires a sufficient emotional investment. On all front, Portman is a revelation and is most mesmerising in her quieter moments. Such simple things as watching her husband blood drip off her in the shower increase the power of this turn. This role is one that will see her feature regularly this award season. After a few wayward of years of bad comedies, Portman is now firmly back on dramatic territory and this role feels like one she was born to play.
Jackie is a biopic picture that is unmatched this year and Pablo Larrain's Hollywood debut is one to truly savour.
The return to the Harry Potter universe is an enjoyable one by director David Yates. While Fantastic Beasts and Where to Find Them is an adventure that is great to look at, it doesn't quite conjure up the same sense of wonder. Yates draws into a world of unlimited imagination where effects seem to come second to knowing our characters. Eddie Redmayne makes for a capable lead, but JK Rowlings first attempt at a script is slightly incomplete.
Former Hogwarts pupil Newt Scamander (Eddie Redmayne) arrives in New York to promote his work on magical creatures. However, magic is under fire in New York after several recent events. Accidentally crossing paths with wannabe muggle baker Jacob (Dan Fogler) will bring him into the path of ex-Auror Porpentina Goldstein (Katherine Waterston). All the while, a war against magic is being waged by activist Mary Lou Barebone (Samantha Morton).
The creation of the new beasts and a brave step in a new pre-Potter world are what gives Fantastic Beasts and Where to Find Them its success. The new creatures are visually dazzling, top marks go to thieving platypus the Niffler, whose antics are a new ending sources of laughs. From the moment Newt Scamander arrives in New York, trouble seems to find him, During one encounter at the bank, he accidentally swaps suitcases with Jacob. Arrested by Porpentina, she drags Newt back to MACUSA (the US Magic Ministry) as perceives him to be a magical threat. The moment Jacob opens his wrong suitcase, all hell breaks lose and the bulk of the picture is spent chasing down these various beats around the Big Apple. Tina's boss Seraphina Picquery (Carmen Ejogo) is concerned with the effect this will have after the recent attacks by renowned wizard Grimmewald. Sinister MACUSA agent Graves (Colin Farrell) seems to have his own sinister agenda.
Chasing the beasts across a variety of awkward big city locations is definitely a great comic touch. One scene sees them chasing a horny female rhino creature across a frozen New York zoo. The main trouble comes from Newt being a rather weakly written character. A socially awkward and clumsy wizard, this person doesn't really have the needed spark the story requires. Jacob as a 'Non-Maj' dragged into the wizarding world is one we identify with more closely. A good funny relief, he is the audience's vision and like us, he is trying to make sense of it. His love story with Tina's alluring sister Queenie (Alison Sudol) is pleasant but doesn't feel necessary in this type of film. Together Newt and Tina make a good team, but their potential attraction feels drastically underwritten. Graves is a character who has a good sense of mystery about him as he investigates a series of random attacks by an invisible force. The supporting roles seem richer despite less time, particularly Morton's villainous Barebone. Her badly abused son Credence (Ezra Miller) is a wonderfully dark character that lurks in the shadows.
The third does make Fantastic Beasts and Where to Find Them to life. The invisible force has caused havoc throughout, even resulting in the death of an important son of newspaper mogul Henry Shaw Sr (Jon Voight). Finally, during this stretch, Newt gets the chance to play hero onscreen. The numerous creature chase sequences eventually draw out the pictures running time unnecessarily. When he focus on the principle threat plague threatening the city, he emerges as a clever and bold hero who could grow with the right material. Aided by his glorious big bird Frank, Newt shows real brains when the game is on the line, showing that creatures, not humans are his real forte. Unfortunately for all the last act's twists and turns, it contains a big reveal that's far too easy to predict. Although it does boast one of 2016's most unexpected A-lister cameos. JK Rowling's script might not all it wants to be, but it sure is great fun. Yates is able to keep the magic alive where needed and he is definitely the go-to man for this series.
Eddie Redmayne does the best with the material he is given as Newt Scamander. While watching him do an awkward mating dance for a hippo creature makes us cringe, Redmayne is able to bring across the more socially isolated part. Presented your typical bumbling Englishman abroad, Redmayne is able to bring across a depth such as his pining for an acquaintance who once wronged him. More impressively he is given a bravery when the game is on the line and that finally makes us root for him. Katherine Waterston is a talented actress is a rather beige role as Tina Goldstein and while her heart is commendable, she is never given anything to draw us in. Dan Fogler is by the given the strongest supporting role and as muggle Jacob, he is a revelation. Embodying the audiences conscience and desire to see this world, Fogler looks like a kid in a candy store.
Fantastic Beasts and Where to Find Them offers wonderful visual excitement and is another very entertaining piece. Unfortunately, it just doesn't feel different from anything else we've seen in this universe.
Very few pictures have channelled grief better than Kenneth Lonergan's Manchester By The Sea. Casey Affleck is outstanding as a man afflicted by his past and now forced to play guardian. A highly charged emotional feel is what makes this outing so memorable. Lonergan after impressing with his 2000 piece 'You Can Count On Me' once more is able to show how deep family roots go. Coping with your grief can be a crippling experience, but all throughout we hope for our hero to find his way back.
Lee Chandler (Casey Affleck) is a janitor in Boston who is unable to move on from a tragedy that has scarred him for life. One day he learns that his brother Joe (Kyle Chandler) has finally died from congestive heart failure. At his will reading, Lee learns he has been made guardian to his 16-year-old nephew Patrick (Lucas Hedges). Forced to temporarily stay in his old hometown, he must contend with the painful memory of his past, particularly when he comes into contact with ex-wife Randi (Michelle Williams).
Lonergan's excellently slips and out of the present day and the glimpses we get of Lee's previously life are profoundly affecting. Lee is a man of very few words and struggles to personable with the tenants he serves. While he is a very capable worker, his lack of empathy and constant silence have lead to complaints. He also possesses an extremely short fuse and seems to slug anyone for the slightest of reasons. When a businessman glances at him in a bar, hell soon breaks loose. The happier times of old are a faint memory and Lee is shown to have been a happy man back in his old days. Scenes of him playing with Patrick on Joe's fishing boat radiate joy. When his brother was diagnosed with heart failure, this more than likely lead to Joe's ex-wife Elise (Gretchen Mol) becoming an alcoholic and abandoning them. Though a loving and playful family man, the heartbreaking tragedy that meets him fully explains his descent into solitude. One unfortunate error leads to something no parent should ever have to deal with. The scars of this event hang on Lee's face throughout and Lonergan does a wonderful job of showing his discomfort.
Arriving back in Manchester, Lee feels out of place among his family immediately. The bitterly cold sea breeze and snow covered scenery echoes painful memories of his past. Unprepared for the shock of assuming guardianship of Patrick, Lee is barely keeping afloat. His nephew is a popular teen who is a hockey star, in a rock band and trying to sleep with two different girlfriends. The conversations between the two are the real power of Lonergan's film. Slightly aloof and unable to force a connection at first, the dialogue sounds genuine and has a fantastic strain to it. Patrick willingly uses his uncle as a Taxi service while keeping a brave face on this tragedy. Playing the role of surrogate Dad causes Lee to feel out of his comfort zone. Frequently he spurns the nice offers made to him by others and delves back into his reclusive side. Lucas is dedicated to keeping his father's boat going, Lee doesn't appear to agree and think they should just rent it out.
While the pair might not be fast friends, they are still the only people who can heal each other. One touching scene comes when Patrick finally begins to experience grief and Lee refuses to let him be alone. While his uncle might not always be the most clued-in person to his needs, he knows when to recognise pain. Lonergan's movie isn't about happy reunions or families solving their differences, it's about people dealing with suffering the best they can. Lee might never shake the problems of his past, but he still shows a genuine desire to know Patrick. Running into Randi is like being hit by a freight train. While she insists that she still loves him and regrets the way their marriage ended, Lee cannot bear to be reminded of the life he left behind. This brief encounter has such power that it may shatter our hearts into pieces. All the way through Manchester By The Seathere is tension whenever Lee gets worked up. More likely to use his fists than use logic, some ugly scenarios rear their head. Lonergan's movie is about how families connect with each other, how blood is thicker than water and how human's deal with emotion.
Casey Affleck gives the performance of a lifetime as Lee, a man being forced back into an old world before he is ready. A stark and emotional turn, Affleck is able to make the most of his character's imperfection. Lee is a quiet and introverted man who doesn't thrive on social interaction. Forced to become a father figure again is one that takes all his might and every minute wears on him. This is his finest work since 'The Assassination of Jesse James by the Coward Robert Ford'. Affleck gives the strongest performance of this year and is rightfully odds on favourite for Oscar glory. Lucas Hedges makes for great support as Patrick. While a ball of teenage energy, his amazing ease at accepting his father's death shows his character strength. While Lee might frustrate him, Patrick also recognises that he needs an authority figure right now. Michelle Williams could also be in contention with a whirlwind supporting turn. From the moment she enters, her presence is earth shattering and Lee's ghosts are brought to the surface. A powerful turn, Williams makes full use of her limited time on screen.
Manchester By The Sea is a powerful masterpiece by Kenneth Lonergan. Families might stray, but our hearts will always stay connected.
In just his second feature, Tom Ford has created something remarkable with Nocturnal Animals. A psychologically jarring piece, the ugly side of marriage and revenge is uncovered. Injecting multiple stories into a film can often be problematic. Ford makes each different chapter so essential to the film's feel. With riveting turns from both Jake Gyllenhaal and Amy Adams, this is one of cinematic experience that will leave you thinking for days.
Susan Morrow (Amy Adams) is a wealthy yet troubled owner of a Los Angeles art gallery. Her marriage to philandering husband Hutton (Armie Hammer) is failing and she questions her passion in life. One day she receives a manuscript from her ex-husband Edward Sheffield (Jake Gyllenhaal). The book entitled 'Nocturnal Animals' is a disturbing and possibly true account of revenge. The more she reads, the more Susan finds herself revisiting her old marriage and the harsh way in which she ended it.
Nocturnal Animals is a revelation because storywise because it seems impossible that all fits together. Beginning with an almost vulgar title sequence of a plump naked woman dancing with sparklers- Ford's intent to shock is clear from the start. Throughout the three different narrative's, all have their own unique factor to keep things interesting. When we first meet Susan it is made apparent that although she is rich and successful, her personal life is a mess. Constantly she lives in fear of turning into her domineering mother (Laura Linney) and is questioning her life choices. When she gets Edward's manuscript, which strangely is dedicated to her, Susan is reinvigorated. The novel tells the story of Tony Hastings (also Gyllenhaal) who while driving through West Texas one night is rammed off the road by Ray Marcus (Aaron Taylor-Johnson) and friends. This sequence is one of the most disturbing and tense imaginable as the lives of Tony and his wife and daughter (Ilsa Fisher and Ellie Bamber) are in the balance.
This whole manuscript appears to be a retelling of the bitter end to Susan and Edward's picture perfect marriage. They married as idealistic grad students against the wish of Susan's mother. Soon after it was revealed that Edward was little more than a dreamer and wasn't the strong person that she needed. Edward's bitterness towards their eventual divorce is laid out plainly in his book. Tony is a weak man who struggles to protect his wife from the clutches of death. Later in the book, he hooks up with unorthodox Detective Andes (Michael Shannon) who is determined to see justice. Revisiting her old life leads Susan to some hard truths. Although Hutton is the strong-willed husband that she always wanted, he is also just a playboy with a ring. The art that she has believed in for some many years has lost all value to her and now she is simply keeping up appearances. Edward has perhaps morphed into the successful and daring writer she always hoped, but why has he approached her?
Ford's fascination with the dark underbelly of humanity is what gives Nocturnal Animals its wonderful edge. Tony's descent from being a mild mannered coward to a bloodthirsty hound is utterly believable. Paralleling Edward's anger towards his unexpected life turn, both characters are filled to the brim with an unshakable sadness. Susan feels cold reading this story, but it also expands upon her regrets over the way their marriage ended. When the brutal act of betrayal is revealed, suddenly the content on Edward's novel become frighteningly clear. As Tony hunts down Ray, it feels like a Tiger slowly crawling out its cage. Tom Ford fills the air with unspoken hatred and these are some of the most memorable scenes imaginable. There is such raw emotion involved with this picture, it will make us all revisit past breakups and question our motives. Visually Ford's direction is a treat throughout. With such ease, he drags his audience into this world of pain and makes us unable to look away.
Amy Adams gives another mesmerising performance as Susan Morrow. On the one hand, she is a successful and confidence woman, but Adams gives her a deep anguish beneath her perfect appearance. Jake Gyllenhaal is marvellous twice over, as Edward, he is a headstrong idealist who is unable to read between the lines. Playing Tony, he is the loving family man being taken to a dark part of the soul. Gyllenhaal excellently embodies the movie's painful voice and gives a turn of such believable emotion that he steals every scene. Michael Shannon shows why he is one of the most capable supporting actors around. As Andes, he makes the most of his screentime. A detective with nothing to lose, Andes is concerned with procedure and would rather see Tony's enemy dead than go free. Aaron Taylor-Johnson is also suitably creepy as Ray and resists the urge to go OTT. This is one villain whose death we pray for.
Nocturnal Animals is one of the most unforgettable experiences that you might see this year. Tom Ford waited seven years for his return and his wonderfully crafted tale of revenge has been worth the wait.
Jeff Nichol's Lovingis a wonderfully low-key drama. This picture focuses on the length battle faced by Inter-racial Virginia couple Richard and Mildred Loving. Nichols refuses to go for the fireworks and stays true to the quiet determination of the couple. By letting their love and refusal to back down tell the story, we are given a pair of powerful lead performances. The couple's fight lasted over a decade and went all the way to the US Supreme court. This recounting of Virginia's unjust Racial Integrity Act marks an important event in US marriage laws.
Richard Loving (Joel Edgerton) takes his African-American sweetheart Mildred Jeter (Ruth Negga) to get married in Washington D.C. Although her family raises concerns over the trouble this could cause, both proceed with the marriage. Soon afterwards, the cops are tipped off and the pair is arrested. Eventually, they are forced by a court to move to Washington. Refusing to go quietly, Ruth writes to Bobby Kennedy to ask for help with their case- in turn, he refers lawyer Bernie Cohen (Nick Kroll) to them. What will follow will ultimately amend the US Constitution.
A pleasantly intimate movie, Loving is a picture that is not about big speeches or fiery courtroom scenes. Nichols refuses to sink into showing blatant racism and instead focuses on the troubles faced by a couple in love. When they first marry, Richard has no worries even though all around him are questioning his actions. One night they find themselves yanked out of bed by Sheriff Brooks (Martin Csokas) and hauled off to jail. Despite having their marriage certificate and being above board, they are simply told: "That's no good here!" It's never made clear who precisely has tipped off the cops? The accuser is not the focal point, it's the injustice that speaks loudest. To avoid jail time, the pair is forced to plead guilty and leave Virginia for 25 years. This separation for their families causes a huge strain on both sides of the aisle.
While the couple's personas on screen are only skin deep, they remain true to the real life characters. Richard is a man of few words who tends to mumble, Mildred is the warmer side to the to the couple. Although her husband wants nothing to do with the case, Mildred still writes for help. Bernie Cohen is an ACLU lawyer who although inexperienced with Civil Law, is still driven by the possibility of making legal history. The case comes second to the couple's story, the pair even refuses to appear at the US Supreme Court. Nichols is also able to litter his film with some fine moments of suspense during this stretch. Being followed by another vehicle on an isolated country road is bound to get the blood pumping. The pair returns to Virginia which could well see them jailed again. Unswayed by legal penalties, the pair is determined to raise their numerous children in their home state. The portrayal of the Loving's marriage does lack some depth. Despite their devotion to each other, we don't feel the warm glow we expected.
As the case picks up speed, the attention on the couple increases. Richard is visibly uncomfortable when forced to answer the questions reporters ask. The presence of Life Magazine photographer Grey Villet (Michael Shannon) also makes the couple feel awkward. Refusing to take centre stage, the pair shuns the publicity that the case gives them. This is the most powerful aspect to Loving because under normal circumstances we would see a couple passionately defending themselves to all. Richard and Mildred don't feel they need to justify anything, their love speaks for itself. When asked what he wants to tell the Supreme Court judges, Richard matter of factly tells Bernie "Tell em' I love my wife!" Another point of note is how Nichols portrays people of the Deep South. He resists the urge to portray the people of Caroline County as a group of narrow-minded racists. Sheriff Brooks while disapproving doesn't feel the need to harras the pair. Richard's mother quietly states he shouldn't have married Mildred, but nonetheless helps deliver her child. Under normal circumstances, this would be big bait to telling a story of injustice. In Nichols view, everyone deserves a fair shot.
Both Joel Edgerton and Ruth Negga are simply fabulous as Richard and Mildred. Edgerton in particular rolls out his strongest performance to date. A man who lives by a strict set of morals, Richard's devotion to his wife is absolute. Often when faced with simply backing down and taking an easier path, Richard will reject it and fight on. Ruth Negga is a real stand out and the Irish-Ethiopian actress gives a heartfelt turn. Embodying the kinder and gentler side to the marriage, Negga carries the audiences worries and hopes forward. This is one performance will definitely kick start her career and you should expect this name at least to appear on the award circuit.
Loving is a movie that might be a slow experience for some, but Nichols is no great hurry to tell this tale. Those who stick with it will be reward by seeing one of the truly strong couples our time.
Opening to an overwhelming hype, Denis Villeneuve's Arrival is an intelligent thriller and a breathtaking visual experience. A smart and thought-provoking script by Eric Heisserer fuels the picture and leaves the audience second-guessing. Villeneuve cranks up the tension early on and gives his film and a great dramatic edge. For a film of this genre, there is a highly emotional feel which will capture the hearts of adults everywhere.
When 12 mysterious spacecraft arrive on earth, naturally humanity assumes the worse. Dr. Louise Banks (Amy Adams) is a world-renowned linguist who is approached by Colonel Weber (Forest Whitaker) to make the first contact with the species. Teamed with scientist Ian Donnelly (Jeremy Renner) they must assess whether the aliens intentions are hostile or peaceful. Fighting the clock both Banks and Donnelly must uncover why the aliens are here, what they find will change both lives.
Arrival is a slow burning affair as Villeneuve builds up the suspense to the first encounter. Banks is teaching a linguistics class when the aliens first arrive hovering over a field in Montana. She has previously assisted the army translating Farsi documents so when Weber arrives she already has security clearance. We learn that every 18 hours the aliens ship door randomly opens. Other scientists have attempted contact but are unable to make any sense of the bizarre ramblings. When Ian and Louise first step inside the ship, our stomachs tighten. Set against Johann Johansson's foghorn-like score we see a pair of tentacled creatures behind a gleaming wall. When the humans first speak, the aliens just throw back what appears to be random signs. Through Louise's intelligence, it begins to transpire that these signs might mean something else entirely. Nicknaming their cephalopod friends Abbott and Costello, both attempt to forge a relationship. Taking both linguistic and scientific approaches, Louise and Ian are split on what the signs could suggest?
Things are complicated by other nations perceiving the aliens messages as threats. China led by General Shang (Tzi Ma) are refusing cooperation. Other nations are also panicking about the discoveries they have made and wish to engage the aliens in warfare. This ticking time bomb threatens to disrupt the peace on earth and could lead to something potentially dangerous. Agent Halpern (Michael Stuhlbarg) is intent on following directions to the letter and his short-sighted approach is derailing all progress made. Louise is convinced that when the aliens tell them to "Use Weapon" it is a phrase that is misunderstood. Intercut with scenes from her past where she reminisces about the daughter she lost, this ordeal is emotionally taxing on Banks. As you will learn through Villeneuve's picture, not everything is as it appears. The bond Louise forms with Abbott and Costello is genuinely moving and you get the sense that her involvement here was meant to be. Around all the military and government personnel, she is the only one able to see the bigger picture.
Although Villeneuve lets his audience down slightly with a polarizing big reveal, the sheer amount of adrenaline during the final act makes up for it. With time against them, Louise has to resort to a bold piece of thinking to save the day. What follows is a poignant moment of discovery that changes everything we know. The realization of what is to come is heart rendering but also hopeful. Arrival is a love letter to the value of language and reinforces Louise's belief that this is "the cornerstone of civilization" Smartly Villeneuve expresses what power the values of words carry and how we need to understand the meaning behind them. Bradford Young's cinematography deserves credit too. His stark and gloomy photography gives this picture a hypnotic effect. During the first contact scenes, it's like looking a new and scary vortex of beyond. Denis Villeneuve is becoming one of the strongest talents in Hollywood and gives hope that his Blade Runner 2049 will give us the sequel we have always wanted.
One of the Hollywoods best talents, Amy Adams is having a career year. Along with Nocturnal Animals, Adams is very much the name on the lips of awards shows in 2016. Here she puts in a strong and ambitious turn as Louise Banks. A clever and fast thinking personality, Louise can see what no one else can. Adams also handles the emotional weight of the character well and gives her a depth that serves her well in the closing stages. All throughout there is no doubt that somehow she is connected to her alien counterparts. Jeremy Renner gives a solid supporting turn as Ian, a scientist who initially scoffs at her language beliefs. However, this is very much Amy Adams' picture.
Arrivalis a spellbinding experience which will change what you think about alien encounters. Denis Villeneuve is a director who always finds a way to audience heart rate increase. Expect big things for Blade Runner 2049.
After years in the wilderness, Mel Gibson seems to be working his way back. His new project Hacksaw Ridge is a fitting tribute to our WWII veterans. Focusing on the story of Desmond Doss- who was awarded the Medal of Honor despite being a conscientious objector. Gibson's direction brings the man's strength of character to life. On the battlefield is where this picture scores highly and we are given the best war scenes since Spielberg's Saving Private Ryan.
Desmond Doss (Andrew Garfield) is a young man who wants to serve in WWII but his refusal to bear arms puts him at a disadvantage immediately. Superiors Captain Glover (Sam Worthington) and Sergeant Howell (Vince Vaughn) want him gone. Despite his brutal treatment Doss refuses to give in. Shipped over to the Pacific, Doss must contend the fiery hell of battle in Okinawa. Without firing a single bullet, Doss will show these men of war what courage really is.
Mel Gibson takes his time over telling Doss' story and the fast half of Hacksaw Ridge explains why he maintains his pacifist beliefs. Raising in rural Virgina to an abusive, alcoholic war veteran father (Hugo Weaving). His first experience with violence nearly kills his brother in a play fight. Reinforcing his belief in the sixth commandment, Doss resolves to never hurt anyone. He begins a cute romance with his future wife Dorothy (Teresa Palmer), a nurse at his local hospital. Their courting has a glowing innocence of youth and feels very much like the calm before the storm. When Doss enlists in the US Army and begins basic training, at first things go swimmingly but he refuses to pick up a rifle things get ugly. His purity of heart and self sacrificing are just the start of what will become a life altering experience. The early scenes between Doss and his father are like hearing the voices of the soldiers already lost, as his father begs him not succumb to same fate his his lost friends.
Called out by both Howell and Glover for his beliefs, Doss soon finds himself ostracized by his squad and deemed a coward. Glover fears he is damaging troop morale and cannot under why a pacifist would join a combat regiment? During this sequence we get a firm glimpse at his refusal to give in. Doss is beaten up, given extra duties, refused leave but still resolves to complete training. Even when faced with an easy out of military service, Doss still will not pick up a rifle. With a court martial pending it takes a piece of bravery for his afflicted Dad to save him from spending the war in jail. Doss' argumens about his right to serve will melt even the most stubborn of hearts. Although a proven team player and demonstrating sheer courage, he is frown upon by even the most senior officers. Continually bruised and scarred from his experience, Desmond emerges as a hero before he even sets a foot in WWII.
Arriving in Okinawa is where Hacksaw Ridgeshows its true colours. As the troop watch the numerous dead bodies and shellshocked troops heading away, it is clear this is a place men fear to tread. Taking this island is all important and Glover explains this could swing the war towards Allied victory. Entering the battlefield, the nerves tingle all around us and surrounded by the ashes and fire of combat are the tenacious Japanese army. Be prepared for continual anxiety and claustrophobia because when the bullets fly this combat zone turns into hell on earth. Soldiers are ripped apart in moments and the men we have become familiar with are lying dead all around. Gibson doesn't hold back and his fascination on showing the guts and brutality of war bring us right into the horrific nature of war. Through his excellent direction, Gibson shows just how perilous Doss' sacrifices to save his comrades really was. Fearlessly diving into the heat of battle to drag another to safety while ankle deep in the insides and blood of the fallen- Doss keeps praying for the lord to just let him save one more. His display of bravery is rousing to the core and a true hero of the battlefield is born.
Andrew Garfield turns in an Oscar worthy performance as Desmond Doss. It is hard to imagine another actor that show the same kind of heart as this man? Garfield embodies the spirit of Doss and plays his character like he doesn't know the meaning of the word quit. With this and his role in Martin Scorsese's 'Silence' Garfield is on a career high and is a frontrunner for the awards season. Sam Worthington and Vince Vaughn also give as good as they can. Vaughn in particular is scene stealing as the loud Sgt. Howell. Hugo Weaving in a brief role in the one that is the most poignant. Weaving ably demonstrates the effect that war has on a man's mental state. His character is lost in a haze and feel confusion over what precisely his generation were fighting for when so many were killed?
Mel Gibson as a character might never be fully redeemed, as a director we forget just how great he can be with the right material. Hacksaw Ridge is a movie that puts him on the map again and there is no better man than Gibson to tell the story of Desmond Doss.
While it may appear like Inception on acid at points, Doctor Strangeis a thoroughly entertaining new Marvel adventure. With a stand out turn by the reliable Benedict Cumberbatch, this tale of sorcery is one that continually surprises us. Derrickson also has the psychedelic element down and over the course of the movie he drags his audiences to dimensions they couldn't possibly dream of. Watching this in 3D is worth the admission fee alone.
Dr. Stephen Strange (Benedict Cumberbatch) is a cocky surgeon known for his magic hands and ability to perform risk operations. After suffering a major car accident, his hands are crushed and the nerves are damaged, leaving him unable to practice. Strange quickly runs out of money finding a cure, until he hears of a place in Nepal that can cure people. When he arrives he meets the Ancient One (Tilda Swinton) who along with Mordo (Chiwetel Ejiofor) introduce him to a form of mystic arts.
Doctor Strange starts like any other origin tale, he is an arrogant doctor that burns through his cash on fast cars, expensive watches and thinks the good times won't end. He has a love/hate relationship with fellow Doctor Christine Palmer (Rachel McAdams) and she is possibly the one person who puts up with him. His car crash is an earth shattering one and Strange descends into near insanity trying to find a way to fix it. After being tipped off by a former patient, he heads to Kathmandu and looks for Kamar-Taj. Arriving here, the film begins to have fun with itself as Strange mocks the Ancient One and her beliefs. Moments later he is knocked out of his corporeal form and sucked into a dimension of vivid colours and crystals, this sequence is trippy to the core, especially when he arrives in a place where little hands start sprouting from his own hands. Arriving back to a smug smile from the Ancient One, you can literally feel his hand expand.
The principal threat comes from Kaecilius, a former student of Kamar-Taj who turned to the dark side of the arts. Seeking an alliance with a demonic force who promises eternal life, this where the story has its most fun. During these battles, we get some of the most awe-inspiring CG of 2016. Entire buildings change form, gateways to different locations are opened with the flick of a wrist and the possibilities are endless. A break from the Avengers norm, Derrickson seeks to give his audience a visual feast and we begin to question what we know of time and space. Big questions of the characters themselves also hang over the film, just how does The Ancient One keep her youthful appearance, will Strange be seduced by the prospect of eternal life? Although the story does drag in places, Derrickson is able to keep this picture on its toes.
Impressively for a third act, Doctor Strange is able to not to succumb to the typically overblown Marvel endings of late. Derrickson keeps things unpredictable during a Hong Kong set finale, where Strange attempts to go against what he has been taught to save the date. It also features one of the most unexpectedly hilarious sequences, keep a mental note of time loops during this movie it will come in handy. Strange is one character who you will grow to love despite his flaws because underneath his cocky exterior beats the heart of a true hero. This character in the wrong hands could have been a big mistake for Marvel, but Derrickson carries off with such finesse that it is hard to imagine this universe without him.
Benedict Cumberbatch shows his action hero chops and effectively carries off Strange's smug sense of humor. He succeeds admirably at building this character from the ground up during his recovery as he becomes a broken man in every sense of the word. Cumberbatch fits the character like a glove as he grows in confidence, so does his magical abilities. It will be fascinating to see what he does with more installments. Less fortunate are Rachel McAdams and Chiwetel Ejiofor, a great of great actors denied any kind of relevant screen time and given zero to do. Mads Mikkelsen also gets short changed as Kaecilius who is so underwritten that there is little threat to him. Mikkelsen is proven at playing villains and deserves better material.
Doctor Strange alongside Captain America: Civil War is one of the stronger offerings Marvel will throw our way this year, this will be one piece that demands Blu-Ray purchase in future.
While it's disappointing that director Mat Whitecross doesn't go as deep as required, Oasis: Supersonicis still a thoroughly entertaining documentary that captures the mania, egos and music of Oasis' at peak form. The continual knife edge relationship between the Gallagher brothers is well presented because they were the factor that both drove and eventually killed the band. The brothers along with an impressive variety of other commentators make for some great and brutally honest storytelling. Ever 90's kid who still has their worn copies of What's The Story (Morning Glory) will go away with a big smile.
Both starting and closing at the now legendary 1996 Knebworth gigs where Oasis performed to over 250,000 fans over two nights, we see them on top of the world. As the opening chords to 'Columbia' begin to roll, it's like you are being transported back to a very special time. The brothers were continually at each other's throats, even during childhood when forced to share a room while being raised by their Irish mother in Burnage, Manchester. While Noel is on tour in the 80's with Inspiral Carpets, Liam forms the band along with guitarist Paul 'Bonehead' Arthurs, Paul 'Guigsy' McGuigan and drummer Tony McCarroll and Noel soon followed suit, making his presence felt immediately. Their rise to the top began with a real chance opportunity when they blagged their way into King Tut's Wah Wah in Glasgow and performed a gig to seven people. Just so happened that Creation Records founder, Alan McGhee was in attendance and signed them immediately.
One element to Oasis: Supersonic that Whitecross has pinned down is that he makes full use of the Gallagher brothers storytelling and this along with a series of animated sequences provide Oasis fans with what they need. From starting performing at the Broadwalk in Manchester, in such a short time they were under the tabloid spotlight. This pressure caused friction in the band almost immediately and in unflinching honesty, such as after making their first EP 'Definitely Maybe' almost nothing happened for two years. The first part of the movie does trace the band's origins and refreshingly portrays Oasis as a group of lads from a council estate who just liked smoking pot and making music. Their desire to just make money and sell records would ultimately make the difference. While there are disputes galore, Whitecross does delve into what precisely drove Noel's now famous lyrics, such as the fact that he wrote their debut song 'Supersonic' in a manner of minutes.
As Noel, himself denotes, "Trouble seemed to find us" and thoroughly this picture that it is very much the case. While Definitely Maybe became the fast selling album in UK history, the band made a name for their loutish behavior instantly. Both brothers gleefully tell the story of how their first ever overseas gig never took place due to Liam and others getting involved in a mass brawl on the ferry across. The sequences of their 'first trip in a jumbo' across to Japan and the USA are the most entertaining, the Far East is where Oasis had their first taste of superstardom and they clearly still love every minute of it. The US was a far more difficult experience as audiences at the height of grunge failed to really gear into the band's act. Their shambolic make or break gig at LA's legendary Whiskey-A-Go-Go where Liam was high on Crystal Meth was a rare bad side to their quick ascent. The tension on this leg forced Noel to briefly flee the band.
The continual simmering feud between the brothers is what fuels Oasis: Supersonic and Whitecross firmly uses this as the selling point. While there was a lot of violence, such as a lengthy sequence which denotes Noel attacking Liam with a cricket bat when he brought back people from the pub while Noel was recording. There is also an ounce of respect for each other "I wish I could rock a parka like that man!" says the older Gallagher. Liam's cocky attitude and Noel's more hard-nosed approach were like fire and ice in the early days, but neither would be where they are without the other. One key sequence sees the return of their abusive father Thomas, who surfaces during their Morning Glory high point with a journalist during a gig in Dublin. Liam wants to knock the seven bells out of father and his abuse has long afflicted him, Noel, however, is there talking his little brother down and forcing him to take the high road. This display of brotherly love gives us a glimpse how deep the bond between the two goes.
While for the most part, Whitecross' picture is an entertaining affair, this rose-tinted view of the Oasis heyday gets frustrating. Yes, it is still glorious witnessing the music and live gigs at Maine Road during their peak. Not once does he delve into their notable 'Cool Britannia' rivalry with Blur or the time Noel stated he hoped they 'die of AIDS' or the decline that started with their overblown third album 'Be Here Now' The picture ends with the band on top after their Knebworth shows and there is no hint towards the eventual decline and animosity that would lead to the Brothers final fall out before a 2009 gig at Rock En Seine in Paris. What could have been one of rock's most potent doc pictures is annoyingly incomplete and while Whitecross clearly has a ball showing the band's glory days, you end up feeling like Noel after his Brit Awards triumph in 1996 shouting "NO, I WANT MORE!"
Oasis: Supersonic is a movie that leaves us mostly satisfied and will give its fair share of belly laughs. The Gallaghers make for great commentators and seeing Britpop at its highest does bring back great memories. If only, Whitecross had gone deeper this would have been one of the pieces of the year.
Never before has finding your own identity been so painstakingly realized and director Barry Jenkins picture Moonlight is a movie that lives up to its big festival hype. Emotionally heart wrenching throughout, this movie makes the most of its unique premise and shows us both the pains that come with both youth and adulthood in unflinching detail. We observe life through the eyes of one person through three different ages and Jenkins makes us unable to look away for even a moment.
This picture traces the life of Chiron (Alex Hibbert, Ashton Sanders, Trevante Rhodes), a gay drug dealer through three different ages. A bullied young kid with an abusive crack addicted mother (Naomie Harris), at first he finds a father figure in dealer Juan (Mahershala Ali) and a friend in Kevin (Jaden Piner, Jharrell Jerome, Andre Holland). Throughout growing up Chiron is often bullied for his size and for being homosexual. Struggling to stand up for himself and find his real persona will lead the young man down a slippery slope.
Starting with Chiron running from three bullies who pick on him daily, Jenkins wastes no time in showing the problems this boy faces. Juan at first is a kind and encouraging figure in the boy's life in parallel to his mother Paula who is capable of being immensely loving to incredibly abusive in a heartbeat. When they first meet, he struggles to get the young man to talk and invites him to eat dinner with his talkative girlfriend Teresa (Janelle Monae) Often staying in this dealer's luxurious house, Chiron has a feeling of security compared to his harsh life living in poverty at his dingy mother's place where he is often 'entertaining' or on drugs. There is a touching scene early on when Chiron asks Juan what a homosexual slur kids throw at him means and Juan follows up with a talk about finding his own path in life. While Juan provides him with a blanket from the abuse, there is also a big issue of him dealing the very drug that afflicts his mother. While catching Paula smoking crack, he berates her for his irresponsibility while she follows up with mocking for being the one causing it.
The middle chapter of Moonlightis by far the most poignant as it shows the harshness of teenage life as Chiron is a lonely, vulnerable teenager beaten up daily by bully Tyrell (Patrick Decile). This sequence is also the first showing of his changing sexuality as while Kevin has grown into a popular and boisterous teenager, one night at the beach will create a life changing moment. Jenkins and cinematographer James Laxton handle this scene masterfully and under the darker and more night washed tones, this moment is one of the standouts. There is also a growing risk of violence in Chiron and the abuse both at home and daily at school are a source of constant tension. Jenkins makes every second like a ticking time bomb and when Kevin is forced to inflict a brutal beating on his friend, that feels like the straw that breaks the camels back. The groundwork is laid and the scared little boy formerly called 'Little' will evaporate before our very eyes.
Chiron has turned into a copycat version of his former father figure as the movie goes full circle in chapter 3. Jumping forward a decade, Chiron is now a muscle-bound dealer where the gold chains and earrings. Going by the street name 'Black' (a name Kevin gave him previously) he commands the respect denied to him in high school. Underneath he may be the same lost and affected boy which is shown in an emotional scene with his mother in rehab who although scolds him for becoming what she feared acknowledges that she ruined her own life. The real game changer comes when Kevin calls him out of the blue wanting to meet, in an instant Chiron is floundering, speechless and digging up emotions thought lost. The use of music during this finale is well used by Jenkins as 'Hello Stranger' by Barbara Lewis strikes up. Hard truths are revisited and Chiron is forced to face the person who he really is, never before have these type of characters had this kind of emotional depth. While Jenkins might not transgress into sentimental territory, the raw power of his script shines through. Photographer James Laxton is one of the true stars as his ever-changing cinematography from sunny and shiny to a neon-lit Miami night provide the movie with its feel.
The triumvirate of young men playing Chiron are equally excellent, Alex Hibbert is the shy and curious young Chiron who although sheltered from harm is aware of his surroundings. Ashton Sanders is the lost and angry side to this character and his performance is the one that will tug at audience sides as he comes across a young tiger who is poked one too many times. Trevante Rhodes is very much the character muscle but it able to convey Chiron's vulnerable side masterfully during the final act. Naomie Harris is also a revelation as his addict mother and each time she enters the fray we hold our breath. The extent of her addict and the unpredictability that comes with her persona is expertly portrayed by Harris. Mahershala Ali and Janelle Monae make for a fine pair of surrogate parents in the early stages of Jenkins' movie and together they give a loving and protective feel to the story.
Moonlightis deservedly the best review movie of 2016 and currently it will serve as a front-runner for awards season. Barry Jenkins emerges a real talent to watch and his unlikely premise is one of the strongest offering we could have wished for.
The First installment was an accomplished ride with plenty of thrills. With Jack Reacher: Never Go Back, new director, Ed Zwick (who also directed Tom Cruise in The Last Samurai) comes the closest to capturing Reacher's book persona. Many complained loudly about Tom Cruise's casting as the ex-army man, but this movie only proves what an inspired choice he was. Despite a great Cruise turn, a poor central story fails to give audiences the same kind of excitement.
When Jack Reacher (Tom Cruise) assists the army in apprehending a wanted suspect, he makes the acquaintance of Major Susan Turner. When he makes a visit to D.C he finds that Turner has been arrested for espionage. When he starts digging deeper into the case, Reacher suddenly finds himself accused of murder. To clear his and Turner's name he busts her out of jail and goes on the run. Soon it becomes clear that this corruption plot cuts close to home.
Zwick kicks start Jack Reacher: Never Go Backin terrific style as we open on Reacher alone in a diner with four men lying beaten up outside. Sipping his coffee without a care in the world, our hero then proceeds to inform the smug sheriff that in the next 90 seconds a phone will ring and he will be the one wearing the cuffs. His early phone calls to Turner (who has become his replacement in the military police) wouldn't look out of place in a new age romantic comedy, when he finally fulfills his promise of visiting her in Washington, that's where Zwick decides to change tracks. When he discovers that Turner has been arrested, his old detective instincts kick in and quickly it becomes clear that something fishy is going on. When they attempt to arrest him for the murder of Turner's lawyer, his suspicions are swiftly confirmed.
Aside from a lot of scenes featuring this man running around, this sequel does pose a question as to how men like Reacher really survive? This film introduces 15-year-old Samantha (Danika Yarosh) who may or may not be Reacher daughter. Throughout the picture we see him playing protector to this young troublemaker while wrestling with his inner conflict. Years of drifting around have given this guy a lack of ability to settle down, could this girl be key to living a normal life? He argues constantly with Turner and Samantha on their road trip and struggles to keep his cool. His reasons for abandoning the army are still ambiguous "I woke up one morning and the uniform didn't fit" he tells Turner in the beginning. His former employers have also laid a nasty surprise for him as a clause in discharge allows them to reactivate him and also arrest him.
Despite being a fun and entertainment blockbuster, Jack Reacher: Never Go Back is let down by a weak central plot involving a dull corruption scandal involving military contractors led by General James Harkness (Robert Knepper). While surprises lie around every corner, they fail to excite quite like The Zec plot line in the first film. When the action switches to New Orleans, even setting the last act during the annual Halloween celebrations doesn't provide sufficient enjoyment. Instead, we are stuck watching Reacher and company hopping across rooftops trying to evade the least threatening blockbuster villain The Hunter (Patrick Heusinger) who seems to do little more than just wear black and beat people to a pulp. Ed Zwick does his best but cannot match the stellar work that Christopher McQuarrie brought us last time. Though this character seems to be making his presence felt on the big screen and we can expect another outing for the 'Ex-Major'.
Tom Cruise is what gives this Zwick's movie its strength and when it comes to anchoring big money projects, look no further than this guy. Many die-hard Reacher fans complained he was too small to play this guy but Cruise captures his gruff attitude and hard-nosed detection and Never Go Back feels like he wearing the shoes comfortably. Mission: Impossible might still be his calling card, but with enough time Jack Reacher could be equally strong.
Jack Reacher: Never Go Back is a good ride if you just want some big screen fun, but Lee Child fans might not be so pleased.
Some excellent performances are sadly not enough to prop up Mick Jackson's Denial. While this is a solid and thought-provoking story of the notable libel case involving holocaust denier David Irving, it lacks the needed spark to bring it to life. David Hare's script is a well-paced one, but Jackson's direction often flounders, letting down what could have been a gripping story.
Deborah Lipstadt (Rachel Weisz) is a Jewish-American academic who has recently released 'Denial: The Holocaust on Trial' which is highly critical of the opinions of Nazi historian David Irving (Timothy Spall). When Irving confronts her directly and challenges whether the Holocaust ever existed, Lipstadt is insulted. Soon after, Irving sues her for libel in England and forces her to prove whether this great atrocity ever existed. With the help of QC Richard Rampton (Tom Wilkinson), she sets out to prove him wrong.
While Denial is a moving picture that deals well with the absurdity of having to prove hard facts, Jackson doesn't succeed in making memorable. Things start well with Irving confronting Lipstadt during a lecture at Emory University in Atlanta. He openly dares her to prove whether the Holocaust ever took place, taken aback Lipstadt refuses to debate facts. Irving is a cunning edge to the movie that holds the glue together and when he sues her, we can tell he isn't going to go quietly. Highly intelligent and self-educated, Irving is a man who firmly believes his theories and will go down swinging to prove them. Soon after, Lipstadt recruits barrister Anthony Julius (Andrew Scott), who famously represented Princess Diana during her divorce who then aids her in getting headstrong QC Richard Rampton.
From there Jackson decides to make this a straightforward legal drama, there are moments that do raise the game such as an emotional trip to Auschwitz with Dutch scholar Robert van Pelt (Mark Gatiss). But the majority of the action before court time is Deborah squabbling with her legal over the best approach to expose Irving's lies. She wants to put former Holocaust suffers on the stand to give validity to the argument- Julius passionately refuses. Irving is a slippery fish in court and gives his now famous statement about the lack of evidence of three chimneys used for cyanide in gas chambers. 'No Holes, No Holocaust' he claims and the case seems at a standstill. During this time there are scenes which do go to a deep core, in particular when during a dinner Lipstadt is encouraged by a Jewish organisation to settle with Irving.
The finale should have the needed fireworks, but Jackson seems uninterested in releasing them. This lack of emotional involvement gives the movie a void that is impossible to fill. Some key flaws in Irving are exposed and it seems his theories of Nazi Germany might have other influences. Overall the movies rolls towards its expected conclusion and while the voices of those who perished are heard loudly, we can't help but feel that this is just tailor made Oscar bait. Mick Jackson, who previously directed The BodyGuard does show some promising touches during the court scenes but this piece really should have been so much more.
Rachel Weisz for what is possibly the first time in her career fails to sufficiently convince us. Her Queens accent feels strained and seems like that is what Weisz is giving primary attention to for her character. Usually an engaging actress, Weisz feels drastically miscast in this role. Timothy Spall firmly steals the acting honours with an impressive turn as Holocaust denier, David Irving. A self-educated and proud man, Irving is a man who seems to have an answer for anything thrown at him. Spall gives this character a likeable and charismatic feel that makes disliking his convictions hard.
Denial is a movie that wants to be considered for the big prizes but unfortunately, it falls short of what it wants to bring across.
While The Accountant does have stretches where it succeeds as a straight thriller, its underdeveloped story, and misjudged feel are sorely lacking tension. Ben Affleck gives a committed performance, but even he cannot rise to give this movie the dramatic touch it badly needs. Director Gavin O'Connor seems to want to create some sort of autistic superhero and due to a ham-handed backstory for the character and its tendency to gloss over key character points leave us with a lack of empathy.
Christian Wolff (Ben Affleck) is a math savant who runs a small accounting practice, but his work is a mere front for his work does illegally accounting for some the world's most dangerous people. When he is recruited work for a big robotics firm run by Lamar Blackburn (John Lithgow) he uncovers a significant amount of money going missing. During this time he comes across pretty accountant Dana (Anna Kendrick) and he is also been chased by Treasury agent Ray King (J.K Simmons). Where does the trail lead? The answer to that will involve bodies stacking up.
O'Connor seems unsure about what way he wants to take The Accountant because it starts with some intriguing mystery as we see King talking to a colleague about this mystery figure who traces missing money for the baddies. Christian is a character who is very much a loner and to the films credit it does get a lot of details right about his condition as he doesn't like eye contact, has problems with social cues and is prone to fits of anger when he cannot finish something. What it loses points on is the depiction of his martial arts upbringing by his high ranking army father who groomed him from a young to be some kind of superhero. Also immediately, O'Connor throws believability out of the window when it is revealed that also his hideouts are filled the brim with all the latest fancy weaponry and he can drop everything and move within minutes.
The main problem is that so much of story feels confused and not much makes sense. At the centre is a potentially interesting story of corporate corruption, sadly due to a poor script by Bill Dubuque, motivations are confused and the plot becomes muddled from there. It seems like O'Connor is more interested in letting the bodies hit the floor that really explaining what is happening to his audience. Dana is a character that although introduced as the sweet romantic relief, is drastically underwritten to the point of being unnecessary. There is zero chemistry alongside Christian and the sloppy romance approach just feels awkward and unreal. His motivation for wanting to see her live is completely glossed over and seems like an eleventh-hour story addition. Similarly ill-explained are the intentions of mysterious man Braxton (John Bernthal) who goes from place to place makes bizarre threats but not clueing us into the bigger picture.
A clumsy and mismatched ending with some predictable twists is also a big problem for The Accountant as things come full circle. What could have been a cold-blooded and remorseless finale is fumbled at the one-yard line by O'Connor who tries to add a comedic touch. Throughout we see Christian take aim with his huge sniper rifle and emotionlessly kill any number of hitmen with a brutal efficiency. While the final moments do so his great killing ability it just feels a flavorless and dull end to this journey which doesn't bring its audience much joy. Its focus on how autistic are just people and capable of being stone cold killers feels like a big misjudgment when the story alone of Christian being the man who goes where the average fears to tread would have been fascinating alone. Gavin O'Connor has made some good films, Miracle and Warrior showed the bonds of brotherhood well, his thriller credentials remain in the balance.
Ben Affleck does his best to bring Christian to life and on some levels, he does succeed because he handles the little details of his diagnosis well. His portrayal of this character as some kind of weapons Superman leaves his character feeling mismatched and he is never really able to recover from this tailspin. There are solid supporting turns for Anna Kendrick, J.K Simmons, and John Lithgow, but none really has much to work with and for a cast of this caliber they feel stranded in a weak story line.
The Accountant is a thriller that could well have had more merits, but instead, the audience will have to stick to playing count the body numbers.
Book adaptations often divide fan opinions, but in the case of Tate Taylor's adaptation of Paula Hawkins popular thriller The Girl On The Train, the cries of anguish have been loud. Many fans were upset by the unnecessary changing of the story from London to New York and by the casting of Emily Blunt who was deemed 'too beautiful' for the role by Hawkins herself. While it may not be a complete disaster, this movie drops well short of the expectations and what could have been a well-crafted thrill ride turns into a ride to nowhere.
Rachel Watson (Emily Blunt) is an alcoholic divorcee who still pines for her former life with ex-husband Tom (Justin Theroux). Taking the same train every day, she sees him playing happy family with the woman he left her for Anna (Rebecca Ferguson). On the same train, she observes the couple next door Scott (Luke Evans) and Megan (Haley Bennett) who to Rachel seem to like the perfect couple. When Megan goes missing and is presumed dead, Rachel takes it upon herself to find out what happened. By involving herself in her old world and invading other people's lives a dangerous path follows.
While the moving of location to New York might be one of the stronger points of The Girl On The Train it lacks the needed tension that book gave in buckets. The early train rides past her old neighborhood in upstate New York are breathtaking. We feel the pain as the train stops and forces her to gaze upon her husband living in their old house with the woman who ruined things. Another plus point is how Tate Taylor with brutal honesty demonstrates the effects of Rachel's alcoholism and how her misery has compiled from her self-loathing. Bitter about her divorce and unable to shake the past she is lost in a sea of despair and her constant appearances have caused friction. After waking from one particularly disturbing blackout, she is shaken to the core.
The skewed narrative does well to show Rachel as an unreliable narrator and its non-linear structure makes us second guess frequently. Permanently sozzled, we often wonder if Rachel is hiding something as she can never seem to remember anything "I'm not the girl I used to be" she denotes frequently. Investigating officer Detective Riley (Allison Janney) suspects she knows more but Rachel is unable to trace her steps. Megan and Scott represent everything she yearns for, but as events inform us all is not as it appears. While it is key to the plot, Megan's story feels undercooked and doesn't quite draw us in. Haley Bennett looks the part of the devoted wife, but she fails to really engage. Her supposedly volatile relationship with Scott is never properly explored and her sessions with the mysterious Dr. Kamal Abdic (Edgar Ramirez) fill more like fillers than actual plot devices.
Key to the fans frustration in The Girl On The Train is Erin Cressida Wilson's script, what starts as promising stuff soon ruins itself with its insistence on too many twists, the majority of which feel predictable and it lacks the suspense of the novel. The final act which was soon shocking on paper just feels bland and near laughable. Taylor tries to dress things up well, but his talented cast cannot bring this to fruition. The cinematography of Charlotte Bruus Christensen is the real star of the piece as through her gliding shots she draws the audience into the heart of things. She firmly captures the continual insomnia of Megan and Anna's restlessness with her perfect home life. One notable exception is watching Rachel waking up to more than a hangover in her room, through Christensen she wakes up to pools of vomit, blood, and a nasty head wound. This one scene is the element that changes the tide.
What holds the film together is an outstanding star turn by Emily Blunt who is proving herself a capable actress across multiple forms. Blunt does more than just capture Rachel's continual drunkenness she absolutely nails her fragility and disillusion of how her once perfect life has gone south. In one amazing monolog, she ably demonstrates the characters self-destruction, hatred, and her desperation. Mesmerizing throughout, Blunt holds the audience sympathy but never crosses over into alienating them. She also gives Rachel a good air of hope and we hope she finds the redemption she so needs. Many criticized Blunt as miscast in this role, but it is impossible to think of the picture working without her.
The Girl On The Train will go down as a badly missed opportunity, it might be a pretty looking ride but its lack of story will have fanatics steaming at the ears.
