The Reich: Review of Imperium

Imperium

Director: Daniel Ragussis

By Alex Watson

Daniel Radcliffe might still be the Boy Wizard to some, but Imperium proves just how much talents lies beyond his spell at Hogwarts. A slow burning and tense affair, director Daniel Ragussis depiction of a young man going undercover with a White Supremacist group is frighteningly realistic. In this world keeping your identity is one thing, but having to go against your principle's to fit in is quite another. Ragussis throughout keeps things on a knife edge as the deeper into the circle our man goes, the more he could be exposed. 

Nate Foster (Daniel Radcliffe) is a young FBI agent who is unwillingly used as a pawn by agents Angela Zamparo (Toni Collette) and Tony Hernandez (Nestor Carbonell) to go undercover to investigate White Supremacists who are potentially looking to detonate a dirty bomb within Washington D.C. When integrated into his new surroundings, Nate finds himself the object of constant suspicion but also some grudging admiration for his smarts. As he begins to progress within the inner circle, Nate finds himself pressured to get results on a theory that might not exist. 

The interesting thing about Imperium is the way that it views White Nationalism, while it does criticise its attitude and its practices, its a very open-ended look. An opening montage of the hate speeches, literature and events practised by racist groups are terrifyingly spellbinding. From the moment Nate shaves his hair off and adopts his new persona, many of the group's leaders praise his smarts within the heat of the moment. However, no amount of quick thinking can ever truly erase the suspicion that he may not be one of them. There are the dangers of his cover being blown, during a white power march with a violent denouncement, Nate finds himself recognised by a black co-worker. These groups also have very big eyes and ears when it comes to newcomers and each little odd instance is picked up on and Nate has to constantly find a way to cover his tracks. 

There are a surprising amount of different levels and faces within the white power groups, Gerry Conway (Sam Tremmell) is the pleasant and amiable faced Godfather of the regime. Hateful right wing radio host, Dallas Wolf (Tracy Letts) is considered the honeypot to the FBI. Nate also finds himself facing the scary Andrew Blackwell (Chris Sullivan) of the Aryan Alliance and the highly suspicious Vince Sargent (Pawel Szajda). Each one of these groups has their attitude and fearful agenda's but each stands out in a different way. The more respect Nate attains within these groups, the more he alienates other members.  While the plot occasionally loses itself a little much within explaining the difference between groups and the search for the bomb becomes virtually non-existent towards the climax, Ragussis still puts together a powerful and realistic portrayal of these groups.  

As he finds himself getting closer, Hernandez during the final act also has the front burner under him to close this fast. Despite the fact he has what seems to be clear proof, his fellow agents merely scoff at him and tell him to bring more. Nate's relationship with Zamparo is a trying thing because although she is concerned for him, she also frowns upon the methods he uses to gain trust. Imperium is thrown a new curveball in the third with the addition of quiet psycho Morgan (Burn Gorman). Does the bomb really exist? Has Nate blown his big chance with an overly ambitious pitch to big wig Dallas? The finale is like a ticking time bomb and as Hernandez and his cronies close in we wonder will Nate make it alive out of this one? On the whole this a smart and deep thinking drama that makes it audience really think about exactly what methods should be used to get the right message across. 

Daniel Radcliffe finally gets a chance to show exactly how much talent he has in what is a career-best turn. Showing a depth of character and emotional conflict rarely seen before, Radcliffe has finally shed his Harry Potter past. Nate is a smart young man whom in even the face of danger is able to keep his head. Toni Collette is also strong as Angela Zamparo, his surrogate mother in the field. Although she uses him at times for her own gain, Collette also gives this character a good sense of concern. In the supporting ranks, Chris Sullivan firmly wins the day as the frightening yet respected leader Andrew. This is a man who is building his own army and has men who would lay down their lives for. Sullivan makes you believe every second of this is in a bold turn. 

Imperium is one of the most clever and powerful pieces you are likely to see this year. Listen to its message and draw your own conclusion. 

Get Rich Or Die Trying: Review of Hell or High Water

Hell or High Water

Director: David MacKenzie

By Alex Watson

After being screened 'Un Certain Regard' at Cannes this year, David MacKenzie and writer Taylor Sheridan have come up with a thriller that packs a punch. One on the hand a heist movie and on the other a deep story of brotherhood, Hell or High Water is a picture with both brains and brawn. While the story at the centre may take some time to wrap your head around, MacKenzie, in the end, gives us one of the strongest pictures of 2016. 

Toby (Chris Pine) and Tanner (Ben Foster) are brothers who have resorted to robbing banks to wrestle much-needed funds. When word about a series of robberies gets out, soon to be retired Texas Ranger Marcus (Jeff Bridges) is soon on their trail. Throughout it becomes apparent these brothers are just targeting any banks, they are going after the same branch. Toby is not only desperate to save his families land, but he is also thinking of what it could bring in the future too. 

Hell or High Water starts with a breathlessly calm opening where Toby and Tanner rob a bank early morning but are forced to wait for the manager to arrive. They only take small bills and hit another bank shortly afterwards. The principle reason for their heists is a smart one as Toby has inherited his families farm land but the bank is threatening to take it due an unpaid loan she took out. This land is potentially worth a lot of dough due to oil being discovered. Toby is desperate to hand this land over to his children in a trust, Tanner as a career criminal is able to assist him. Through their treks crossing the scorched Texas' plains, the brother's relationship is one that is always on the verge of exploding. Ex-con Tanner is very much the firecracker of the duo, the burden of his brother's life who will go off with the slightest jolt. Divorced Toby is the calmer and smarter of the two and his lack of criminal activity makes him the perfect sidekick. 

The moment that impending retiree Marcus gets on the trail, MacKenzie is able to inject a newer sense of comedy into proceedings. Faced with a retirement he doesn't want, Marcus scene with his Native American co-worker Roberto (Gil Birmingham) are an endless array of witty quips as he remains unafraid to tease his ethnicity. In the midst of everything so serious, MacKenzie is able to find moments that both shock and delight like when the pair finds a grumpy old waitress who demands they only eat steak and grumbles about a New Yorker who once ordered Trout in 1987. At first along with the two Rangers we are mystified about the reasons for pair hitting the same branch of banks. When the big reveal is shown, the real genius of Sheridan's script is revealed and as their lawyer, Billy Rayburn (Kevin Rankin) says "It doesn't get much more Texan than that!" Gilles Nuttgen's gorgeous cinematography of the harsh landscape makes this feeling a journey into the nether region of the soul.

The final act of Hell or High Water is a chest tightening one as Marcus closes in on the two boys. The scene watching Toby attempt to reconnect with his estranged son is awkward but for this type of drama very realistic. The real emotion comes not from their botched final robbery attempt (seriously never piss the locals off!) but from Tanner's acceptance to his final fate. All the way through their dedication to each other is nothing short of miraculous, just watch Toby happily beat some wannabe gangsters making thinly veiled threats while Tanner just sleeps nonchalantly. He may have been despised by their mother and wasted his life with all his stretches in the pen, but when it comes to protecting his kin- Tanner is exactly the brother you need. Combined with a belting original score by Nick Cave and Warren Ellis, MacKenzie's movie shines brightly. 

Chris Pine again shows just why he is fast becoming one of the stars of 2016 and as Toby, this is his strongest work. Showing a maturity and brains on screen never seen before, Pine convinces well as a desperate man looking to save his family legacy. Jeff Bridges is always electric whenever he comes on screen and his dedication to go out on top causes him an inner conflict that is glorious to watch. Unwilling to retire quickly, Marcus' dedication to the chase is often mocked by Roberto, but it's his work during the final act that really hits home as his carefree attitude is tested. Ben Foster might be an actor who doesn't always hit the mark but as Tanner his hair-trigger performance is wonderful. A man who will lose his shit at a moments notice, Foster give his character a calm yet horrifyingly casual approach to violence. 

Hell or High Water is a possibly one of the best pictures you will see in 2016 with a trio of sizzling turns and gives proof that MacKenzie and Sheridan are two of the strongest hands possible at the moment. 

Food For Thought: Review of Sausage Party

Sausage Party

Director: Conrad Vernon & Greg Tiernan

By Alex Watson

While this does have the odd chuckle thrown in for good measure, Sausage Party isn't quite the laugh a minute affair many would expect. At first, this rowdy and raunchy supermarket comedy is amusing but before long the innuendo jokes begin to reach their expiry date. In the later stages, directors Conrad and Tiernan do show some great maturity and restraint on the level of humour, but its poor taste of food stereotypes makes it lose points.

Frank (Seth Rogan) is a hot dog who along with his friend Carl (Jonah Hill) and stumpy friend Barry (Michael Cera) live inside a package within a supermarket. On the Fourth of July, he is delighted when he and his bun girlfriend Brenda (Kristen Wiig) are chosen by a shopper are destined for the mythical 'Great Beyond'. When the encounter a traumatized jar of Honey Mustard (Danny McBride) the group finds themselves separated. Soon some bitter and traumatic truths come forward when the discover precisely what happens to them in the real world.

Sausage Party is the first ever R-rated animated movie and for those who like rude jokes and unashamed potty humor, this is right up your street.  Opening with a song and dance number that ranges from funny to downright bizarre, this sets the tone. When Honey Mustard shatters Frank and Brenda's delightful hopes and jumps to his death, things turn into a battle scene replica which does tickle the ribs when you see Peanut Butter crying to a jar of jam "I'm nothing without you!" From there, things dissolve into a variety of food-related puns as we meet Salma Hayek's Taco character who has an especially close eye on Brenda, David Krumholz's grumpy Middle Eastern bread Vash and Edward Norton's Sammy Bagel Jr.

Vernon and Tiernan seem of the opinion that if they drop the F-Bomb as frequently as possible it will guarantee laughs. Here, it often falls flat and after a time just becomes tedious and its lack of subtly hinders what could have been something great. There are some glimmers of hope like the hilarious character Douche (Nick Kroll) , who is an actually a Douche. A funny and relevant Italian-American stereotype, watching him get juiced up on juice is very hilarious. His quest for vengeance against Frank for ruining his chance at the great beyond is endlessly watchable. The moment where Barry and friends are at the same shoppers home are smartly played. Watching an Irish potatoes horror as the human rips down the peaceful facade by peeling him makes way to some horror film like moments as we see Nachos being made and carrots wailing in pain at being shredded. Moments like these are rare and it is during these sequences where the most comedy is found.

Sausage Party tries to engage with the idea of people believing in something higher and what it really means to be human? Meeting Firewater (Bill Hader) an old bottle of spirits breaks ground on the real truths of the supermarket, but doesn't raise any sufficient laughs. Also stranded is a wad of gum that looks and sounds like Stephen Hawking. In the right hands and deft comic touch this movie really could have been far stronger, here were stuck with German mustard resembling the Nazi's and such flat lines as "Ketchup, catch up!" When the movie morphs into an extended food orgy scene, those weary of the constant sex references will be sighing internally. It's not to say that this film will be one of the worse that will be reviewed this year, just it could have been toned down rather than just go for all out explicitness.

Seth Rogan is able to bring his usual lazy charm to the role of Frank but neither he or Kristen Wiig are stretching themselves by doing this type of role. You can see the appeal for a whole range of Hollywood stars to get paid handsomely by talking dirty all day. Edward Norton's voice is nearly unrecognizable as he sounds closer to Eugene Levy or Woody Allen. Nick Kroll steals the show as the mad and bad Douche, who now has a thirst for revenge. Michael Cera's naive charm as Barry does make us smile, particularly when he meets James Franco's junkie whose high on bath salts.

Sausage Party will satisfy some tastes, but others will probably spit this food right out. Overall this could have been given a little more flavor.

Voice of an Angel: Review of Florence Foster Jenkins

Florence Foster Jenkins

Director: Stephen Frears

By Alex Watson

The voice of this New York-based singer in the 1940's was a thing of rare wonder, for all the wrong reasons. With Florence Foster Jenkins, Stephen Frears has created a picture that a bittersweet portrayal of a lady of true courage in the face of mocking laughter. While it might play things safe, this picture does highlight that even though this woman couldn't hit a note, she refused to lay day down her arms. Meryl Streep again seems a certainty to be included in the awards lists with a brave performance.

New York heiress, Florence Foster Jenkins (Meryl Streep) is an active socialite among Manhatten's wealthy elders. She has dreamed of making it big with her singing career managed by actor hubby St Clair Bayfield (Hugh Grant). Wishing to performance live again for the first time in years, Florence hires pianist Cosme McMoon (Simon Helberg) to accompany her. Only one thing stands in her way of universal stardom, is an awful singer. McMoon soon realizes he has gotten involved with something unforgettable and potential career-killing.

There is an air of sadness through Florence Foster Jenkins at her delusions of grandeur, being wealthy means she knows the right people and in high society no-one sneers at your lack of talent. Early on, it is well established that St Clair through some well-executed deviousness keeps the haters at bay by allowing papers he is friendly with to review her. The marriage between the two is one of the sweeter elements as the pair remain devoted to each other, St Clair is committed to helping Florence achieve her dream of sold out concert stardom, no matter how much he smiles through the pain. So it is quite a surprise when he nips off to his mistress Kathleen (Rebecca Ferguson) when Florence is set down for the night. This relationship is one that is well explained but creaks throughout under the strain.

Hearing Florence's truly awful voice is what the picture is all about and when it is revealed it really is something to behold. The horror that spreads across Cosme's face when the sound first echoes out is flat out hilarious. Sounding somewhere between a wailing ghost and a screaming monkey, Frears plays this to full effect and the audience comes to realize this woman really has no shred of talent. Keeping the illusion that she is gifted is the main charge of Frears' movie and Cosme's dreams of stardom being a slow rot as he is forced to keep up appearances in the face of his benefactor Florence paying him handsomely. The barely suppressed giggles he badly attempts to hold back after his first encounter with the voice mirror the audience.

Sadly apart from the regular humor that her terrible singing provides, Frears doesn't wish to go any deeper and Florence Foster Jenkins is simply shot after shot of glamorous parties that the wealthy heiress hosts- potato salad being stored in a bathtub is a brilliant idea. St Clair's relationship with her is a wholesome one and is explained very by both parties, but it doesn't hold the picture together like it should. Writer Nicholas Martin appears only interested in the very basics rather than digging deeper into what was a very peculiar common law marriage. The final concert where Florence lives her dream of selling out Carnegie Hall has a sense of dread from the beginning, particularly with a bunch of drunk soldiers attending. Though it is all strangely uplifting and you are tempted to stand and applaud this woman for living a dream most of us would shy away from.

Meryl Streep again proves a revelation as the non-talented Florence. Hearing her straining each note and butchering classics by Mozart among others makes us squirm with discomfort. Streep makes good use of emotion when recounting Jenkin's sad and unfortunate back story and her scenes with Hugh Grant are genuinely moving. The courage that she gives this character are what make scenes fire and even though she has her friends who will never say a bad word, she is still determined for the world to hear her- regardless of how she sounds. Hugh Grant produces what could be his finest work as St Clair Bayfield. Demonstrating a range of emotions many would have thought impossible is his 90's stardom, Grant plays a man who although motivated by the money, is completely attached to help his wife achieve her dreams. Their marriage may be thin on the ground, but the feelings are not.

Florence Foster Jenkins is a movie that might not be the grandstand we hoped, but it is still a textbook example of how never to give up on your dreams. Not matter how poorly you may sound.

Hollywood Romance: Review of Cafe Society

Cafe Society

Director: Woody Allen

By Alex Watson

Cafe Society is an enjoyable but not particularly spectacular Woody Allen outing, he gets to grips with the golden age movies easily but although charming doesn't go deep enough. Boast a set of fine performances from consistent Jesse Eisenberg and the always improving Kristen Stewart, Allen sets up this doomed romance nicely. Vittorio Storaro's photography is likely a gorgeous and welcoming postcard through but aside from the glamour, there just isn't the hook in the story that should draw us in.

Bobby (Jesse Eisenberg) has recently relocated from his native New York where he was tired of working for his father's jewelry business to Los Angeles. Hoping to work for famous Hollywood producer uncle Phil Stern (Steve Carrell), Bobby is introduced to his attractive secretary Vonnie (Kristen Stewart). When his life turns into turmoil on the West Coast, the young returns to the Big Apple where he begins to run a nightclub, though the past keeps catching up.

It is easy to be seduced by the beauty of Cafe Society and when Bobby arrives in the City of Angels it is a breathtaking world away from his dreary Bronx life. Desperate to be involved in the Hollywood dream, Bobby is grudgingly given an errand boy position by Phil. While his attraction to Vonnie blossoms quickly there is a certain shock going on behind the scenes that quickly turns things south. Bobby is a sweet and honest young man and having his heart ripped out early makes him grow up very fast indeed. It is under the sunshine of LA where Allen's picture feels at its strongest and we learn lessons of love, relationships, and their eventual consequences. It makes us want to quit our lives and be transported back an era where stardom wasn't born on Youtube.

Moving the story back to New York both pushes forwards and stunts the grow the movie. Bobby enters into the nightclub business with his ruthless gangster brother Ben (Corey Stoll). Quickly his brother's violent exploits such burying enemies in a shallow concrete graves have them being closely watched by the law, though business thrives immediately as Bobby learns the to get over his broken heart through learning the ropes of ownership. There is a sweet, but not particularly fulfilling side romance between him and future wife Veronica (Blake Lively) who catches his eye and his heart. Our hearts glow while this pair gets acquainted but Allen loses his footing with the reintroduction of Vonnie. While they still have attraction, we're still not completely sure why Bobby is even still listening to her when she trampled all over his feelings years prior?

The final act of Cafe Society neatly ties things up in a bundle, though it does give some potent lessons about listening to our hearts. Although we find our interest in Bobby's new world going up and down, especially since Allen's engaging narration resorts to talking about the famous figures that enter the nightclub, we still hope that Bobby will find a way to reunite with his lost love. Allen smartly shows us how time is both a healer and also a destroyer, Vonnie knows she has made her bed in life and though she claims to love the choices she made there is also a big 'what if' hanging over her head. Happily married, Bobby has it all in the life, but underneath the successful facade, he is more like his continually stressed and unsatisfied Uncle Phil every day. Life is a cruel mistress, but through Allen's eyes, it can be beguiling as well.

Jesse Eisenberg gives what could be his strongest turn yet as the impressionable Bobby. Having lost points for his frankly embarrassing turn as Lex Luthor in Batman vs Superman, Eisenberg shows how engaging he can be with the right material. He doesn't play Bobby as a wounded puppy but as a young who has to learn life's lessons the hard way. During the first act, he gives this character a sweetness that goes all the way to the audience heart but gradually he gives Bobby a wiseness that carries him well in the later stages. Kristen Stewart is also alluring as the well-meaning but bad choice making Vonnie. Her time on screen with Eisenberg does sweep us off our feet but makes away from a near-devastating blow. A seductive yet soulful mistress, Stewart once more earns credibility post-Twilight.

Cafe Society is a good middle of the road Woody Allen production which make not blow you away but certain warms you inside.

Bad To The Bone: Review of Suicide Squad

Suicide Squad

Director: David Ayer

By Alex Watson

You desperately want Suicide Squad to be this fun and carefree ride that we were all promised in its glorious advertising campaign. Sadly no matter how much fast paced action comes our way, director David Ayer just cannot make us ignore how thin on the ground his adaptation is. Sporting one of the best casts of the year, all the ingredients were there for one this summer's best movies. Once again DC fans will let down in a year that has been kind to its heroes.

Amanda Waller (Viola Davis) forms Task Force X, a team made up of some of the worst offenders on earth including hit man Deadshot (Will Smith), psycho Harley Quinn (Margot Robbie), bank robber Captain Boomerang (Jai Courtney) and fire wielding gangster Diablo (Jay Hernandez). When an ancient witch being and her brother resurfaces, the team is forced into action under the command of Rick Flag (Joel Kinneman). Can so many bad people together really be trusted? Also, Harley's boyfriend The Joker (Jared Leto) is also causing his own problems.

The first quarter of Suicide Squad is undeniably the strongest as we meet our heroes at a CIA Black Site in the Louisana swamp lands. It's fun and each meeting of the different bad guys has a strong likability to it, Harley Quinn makes her mark her early as on the surface she is all sugar and spice but below there beats the heart of a lunatic. Ayer's direction is wayward has his character development is ankle deep- through a series of rushed introductions we never really get a feel for these anti-heroes, only a gloss over of what their offenses are. Even the bit part player such as Slipknot (Adam Beach) and Katana (Karen Fukuhara) are thrust into the mix with little explanation. Killer Croc (Adewale Akinnuoye-Agbaje) is an impressive looking use of prosthetics, but aside from a couple of funny lines he never gets much action.

Not having a lead antagonist really makes this picture suffer at the core- Enchantress (Cara Delevingne) who is an ancient witch who has come back to turn humans into her own brand of alien slaves lacks any bite. The biggest crime of all is the lack of screen time given to Jared Leto's excellent Joker. Bursting onto the screen like a smooth old style gangster with metal teeth, this Joker is every inch as sadistic and terrifying as Heath Ledger before him. "I'm not gonna kill ya, I'm just gonna hurt ya really, really bad!" he says to his lady love Harley. The relationship between these two is not given nearly as much attention as it needs. One of the most destructive yet devoted pairs in DC history, we need fully feel the full effect of this union. Another key issue comes from both Ayer and cinematographer Roman Vasaynov's shooting of key action scenes. Due to poor visual effect and a far too breakneck execution, many scenes seem muddled and Ayer seems in a big hurry to get things out of the way.

When the Suicide Squad team forms together there are moments that do stand out, such as Diablo's fine monologue about how his lust for power killed his family. The friendship between Harley and Deadshot seems much more developed genuine than his desire to reunited with his beloved daughter. Killer Croc does have microseconds of brilliance and you feel this could have been a stand out if handle differently. The big showdown at the film's climax is a let down on both an action and CG front because due a big and smoky room, it is near impossible to figure out precisely what is going on? David Ayer is a fine writer and his directorial work like End of The Watch and Fury made him out to be a smart choice. Through a series of missteps and some serious underdevelopment, he has turned what could have been DC's saving grace into yet another misfire. So far the box office bell is ringing loudly so these bad guys will likely be back for round 2. Lots of work to do guys!

Margot Robbie is the standout member of this cast with her sociopathic turn as Harley Quinn. So alluring yet so terrifying, Robbie shows just why she is the new hot property on the block. Effortlessly carrying forward her inner demons along with a fun-loving edge, Robbie is what will remember coming out. Will Smith is also able to take a poorly written Deadshot and make him into something far better. Relishing his antihero status, Smith succeeds well as the at first elite hitman turned doting father. Desperate to reunited with his daughter, he also feels a bond with this group he has become entangled with. Jai Courtney once again comes off short changed in a big blockbuster as his Captain Boomerang offers little else other than filling the Aussie bogan stereotype. Jared Leto looks and sounds the part of the Joker, but we need far more from this guy next time out because Batman could have another great nemesis.

Suicide Squad is a movie that you keep holding out for something great to happen, but like Batman v Superman before it, it simply underwhelms.