I Will Find You: Review of The Salesman

The Salesman

Director: Asghar Farhadi

By Alex Watson

Winner of Best Foreign Picture Oscar at this year's ceremony- few directors are as good at showing relationships crumble as Asghar Farhadi. His previous Oscar winner A Separation trod along similar lines, but The Salesman is a far more tense experience. Set against a couple performing in Arthur Miller's Broadway classic 'Death of a Salesman' some complex events off stage will create some difficult decisions.

Emad (Shahab Hosseini) and his wife Rana (Taraneh Alidoosti) have both recently moved into a new apartment after being forced to vacate their old home. What starts seemingly good fortune soon becomes a nightmare. The couple learns that this home used to belong to a prostitute and one night Rana is assaulted while taking a shower. Emad becomes obsessed with tracking the man down and enacting vengeance.

The Salesman is a movie that makes its audience think hard about the ramifications of their actions. Opening with the couple being forced to flee their apartment due to an earthquake, the shaky foundations of this marriage are touched upon. Fortunately one of their co-stars is able to quickly hook them up with a new apartment. The fact that he doesn't reveal who the former tenant's seedy occupation is what will help spark later events. One night while expecting her husband to return with groceries, Rana understandably leaves the door unlocked. Emad comes home to a horrifying sight of bloody footprints everywhere followed by finding his bloodied wife in the hospital. It is assumed that the intruder has misunderstood who the apartment belonged to, but Emad is infuriated.

What is the most effective about Farhadi's picture is the portrayal of how accidents can lead something far more drastic.  Rana struggles after the attack and this leads to her fleeing the stage in terror. This movie soon turns into an amateur detective piece as Emad becomes determined to find the attacker. There is a sense that he may not be doing this out of concern for his wife, but merely to absolve his own guilt. Farhadi has a knack of showing his male protagonists as being well-intentioned but always choosing poorly. Emad is a well-liked teacher and capable husband, but his ill-advised decision making is what begins the decline of his marriage. Rana wants to simply forget and move on. Reporting this to the police would ensure a scandal, something she is keen to avoid after inheriting this scandalous home.

Although The Salesman lacks the emotional punch that Farhadi's 'A Separation' provided, it does give a suspense that is powerful. Emad's insecurities begin to show through towards the film's climax. He is deeply affected and restless from his wife's attack and this has begun to make him unstable. Will confronting the attacker make him feel like a man once more? The former tenant remains an object of unseen mystery but yet her presence is what caused this mess to occur. Farhadi does let us down somewhat with a finale that stubbornly refuses to release emotions. Boxing his audience into close quarters with its protagonist and suspect does make for some claustrophobic filmmaking. While things to do wrap themselves up, there is also a notion that this marriage may be beyond repair.

This picture also coaxes a pair of wonderful turns, led by Taraneh Alidoosti. The Iranian actress gives a turn of great fragility, especially during the movie's latter half. Playing a woman keen to avoid any attention, her husband's obsession causes her great concern. Shahab Hosseini is also excellent as Emad and plays him as emotionally plagued by not protecting his wife. Hosseini is gripping to watch later on as his determination to be rid of his shame takes over.

Gripping and posing some smart moral questions, Asghar Farhadi's The Salesman is a movie about how moments of madness can define our lives and how even the best intentions can become corrupted.

Run If You Want To: Review of Get Out

Get Out

Director: Jordan Peele

By Alex Watson

Coming across as a socially conscious version of The Stepford Wives, Jordan Peele's horror-comedy Get Out is a remarkable piece of work. Magnificently creating an uneasy suspense, Peele's commentary on racial tensions in America gives both laughs and frights in equal measure. While the jump scares will be memorable, what's underneath the hood is more thought provoking. One part of comedy duo Key and Peele- this director is used to making us think. This effort, however, will have us reviewing everything on the way out.

Chris Washington (Daniel Kaluuya) is a photographer dating Rose Armitage (Allison Williams). This weekend they are heading to meet Rose's parents (Bradley Whitford and Catherine Keener) for the first time. While the meeting initially goes well, Chris soon becomes bothered by the overly nice behaviour of the African-American servants. Also, Rose's mother seems keen on hypnotising him to rid him of a smoking habit! During a party where all the families affluent white friends seem to visit, Chris' worst fears will begin to surface.

From the very beginning of Get Out there is an uneasy sense that not everything is as it seems. Rose assures her Chris that his race will not be a problem and her father awkwardly tells him he would have voted for Obama to have a third term. What could have been your typical horror of mixed race couple been harassed by narrow-minded morons is smartly turned on its head. From the moment he arrives, he notices both the African-American servants are acting in a way that is troubling. While the family and their friends are welcoming, there is also a notion that he is being sized up for something. Peele's ensures that things are not only awkward to the extreme but that his audience is willing our hero to run away quickly.

While this is a smart commentary on race relations, Peele also blends a genuinely original and terrifying horror film. Throughout there are numerous scares which both spook us and provide nervous laughter. The side story of Chris's best friend Rodney who works for TSA provides the bulk of belly laughs. His attempt at explaining his theory about his friend's possible abduction to the authorities is just side-splitting. Rose's family from the outset come across as perhaps too accommodating towards Chris. Her brother Jeremy (Caleb Landry Jones), seems determined to make him like MMA while mother Missy's attempts to hypnotise him reeks of something sinister. While for the early part Chris politely accepts these misgivings, soon he becomes like an animal caught in a trap.

The big reveal might impress some but confuse other- nonetheless, it's an interesting twist. Impressively Peele scales back on frightening people in the movie's finale and instead focuses on making things as tense as possible. Even his death ideas are original- ever seen a man killed by a stag's head? Well ticked that one off the list in 2017. The tight and claustrophobic feel is one that builds to stifling levels. Peele emerges as a real talent during this excellently executed sequence but he also keeps our brains ticking as we mull over the messages he gives the audience. Get Out is a movie that is a very smart type of horror. With racism at a difficult stage in the US, this movie will inspire debate in the coming months.

British actor Daniel Kaluuya emerges a real talent as Chris and his gradual horror towards his situation is electric. At first happy to go along with the families behaviour, Kaluuya gives this character a wonderful paranoid edge from the moment he reaches the house. His character is one that always uses his head and due to these smarts, we hope he will find a way out. Allison Williams in her feature debut is also impressive. For those of us who have watched her in HBO series Girls, we are aware of her ability to play privileged people. In Peele's movie, her character unlike her slightly clueless family is appalled at the vulgarity on display and seems to share her partner's fear. Lil Rel Howery nearly steals the show with a vocal and charismatic turn as best friend Rodney.

Get Out is quite possibly the smartest horror film offering you will witness this year. On its social commentary alone this is essential viewing.

The Boogeyman's Revenge: Review of John Wick: Chapter 2

John Wick: Chapter 2

Director: Chad Stahenski

By Alex Watson

Even the Oracle from the Matrix couldn't have predicted the success of John Wick. In his second outing, John Wick: Chapter 2 just proves what a great fit this character is for star Keanu Reeves! Back once more on badass form, you just have to sit back and enjoy. The story might not be as strong the prior outing but when the body counting wracks up so nicely- who the hell cares?

John Wick (Keanu Reeves) is attempting to enjoy his retirement from the killing business. Unfortunately, he is coerced into honouring a hit by crime boss Santino D'Antonio (Riccardo Scamarcio). Arriving in Rome, Wick will soon prove he is not a man to be trifled with. In doing so he puts himself under the watchful eye of the world's most dangerous assassins.

John Wick: Chapter 2 is a movie that is all about proving what a danger the title character is. In a thrilling opening sequence, we see Wick taking names while barely breaking a sweat. The offer from D'Antonio is what triggers ending his second retirement- no better way to get a man's attention than blowing up his house! Rather sticking to the tried and tested formula, director Stahenski decides to channel the movie's fun aspect. Many feared this movie would just try to follow the original, refreshingly its director is aware and rises above it. Centrally the story of travelling to Rome and becoming involved with old acquaintances would have made us switch off instantly. The set pieces are the element that keeps us on the edge our of seats. Especially during one fun battle with rival Cassian (Common) set underneath the Rome catacombs.

DP Dan Laustsen emerges the movie's top dog as his beautiful cinematography shines brightly. While part one was an ice cold tale of revenge, part two has more of a human feel to it. Wick is weary from his past and being dragged into performing the same old tasks weighs heavily on his conscience. Some familiar faces rear their heads such as Continental Hotel owner Winston (Ian McShane) and some newer more interesting people like Ruby Rose's mute assassin. Perhaps the strongest aspect to this sequel comes from the danger lurking all around. Wick is more on guard than ever before, especially since each person he passes on the street could be a threat. Stahenski along with writer Derek Kolstad keep us guessing about how he will survive?

As a villain, D'Antonio lacks any real threat but still, he finds ways to keep Wick on the run. Matrix fans will have a field day as Laurence Fishburne emerges in Act 3 as fellow crime lord The Bowery King. John Wick: Chapter 2 isn't a build up to this moment and the reunion is impressively low-key. As finale's go, this movie gives an absorbing experience. Not since Enter The Dragon has been a game of mirrors been so thrilling. Thanks to the work of Laustsen, Wick's hunt is like taking a direct route into a brightly lit hell. It's the closing moments that will leave you praying for a Chapter 3. In a few moment's the movie's adrenaline and tension comes full circle and will leave you walking home with your arms shaking in anticipation.

There is no question that this franchise is the one Keanu Reeves was born to star. John Wick is a character that allows him to channel his strengths onscreen. People may have sneered at his previous attempt to prove his serious actor chops- but no-one can deny his action star credibility. Playing this cold-blooded killer is not just a career high for Reeves, it's the ticket of a lifetime. You can tell this guy is having a ball currently and this one character we yearn to come back soon. Wick might not be much of a talker- but his killing speaks volumes.

John Wick: Chapter 2 is another dosage is good cinematic fun. Even Neo would have trouble going hand to hand with this guy!

The Batman: Review of The Lego Batman Movie

The Lego Batman Movie

Director: Chris McKay

By Alex Watson

Few animated features will be quite as fun as The Lego Batman Movie. Sporting the same kind of charm that delighted both Lego and movie fans alike, Chris McKay has given us an ideal geek out movie. The story might not necessarily be strong, but the sheer amount of jokes make up for it. At the centre is perhaps 2017's ultimate bromance as two enemies share a deeper bond. Lego Batman was one of the highlights of 2014's 'The Lego Movie', and when given his own movie he doesn't disappoint.

Batman (Will Arnett) is the hero of Gotham City who has once again succeeded over his rival The Joker (Zach Galifianakis). However, during the heat of battle, he completely dismisses this villain as completely nothing. Barbara Gordon (Rosario Dawson) is the newly elected Police Commissioner who wants a closer working relationship with Batman. His ego still hurting from the rejection by his nemesis, the Joker deliberately surrenders to Gordon. Shocked by this, Batman sets out to banish the Joker to the Phantom Zone.

From a rocking opening sequence which will have smiles from the opening black screen "Black. All important movies start with a black screen." Batman emerges to foil The Joker, of course with his own catchy theme song. Chris McKay taps into the Dark Knight's individual streak early on. Even though he loves his reckless life- secretly he heads home alone to an empty mansion. Brilliantly The Joker's presence is almost vulnerable in this movie. Normally feared, here his entrance is met by a blank expression due to his constant defeats. It could be said this movie is about the effects of wounded pride. The Joker is stabbed to the core by Batman's refusal to acknowledge him (the facial expressions are excellent!). While our hero plays it cool, secretly he needs this band of villains. Gordon has big plans for Gotham, which due to Batman's inability to capture his rivals has meant scaling back his involvement.

The sheer amount of jokes related to Batman's backstory always hit the spot. In one scene with butler Alfred (wonderfully voiced by Ralph Fiennes), we see each previous instalment recreated. Chris McKay has basically done a love letter to the entire screen history- including each time Joker failed. When his enemy and his legion of cronies surrender to Gordon- this is the ultimate slap in the face to Batman.  This along with accidentally adopting Robin (Michael Cera) quickly sends Batman into a mad spiral. Obsessed with banishing Joker to the Phantom Zone- there is the big question of is he just playing into his rivals hands? There is a heartfelt note as McKay reveals Batman's big fear of starting a family. To his horror, he begins growing closer to his adopted son and finds his family ever growing. Without them, he cannot defeat the Joker.

When the final battle hits, this is where The Lego Batman Movie has the most fun. An array of movie villains come forward such as Sauron, Agent Smith from the Matrix, King Kong and Voldemort. Reigning hell on Gotham, Batman must accept that teamwork will help him save the day. I cannot emphasise just how much fun this picture is. Yes, it might be a kid-friendly adventure that is more a satire of the campy 60's humour. However, this is easily a far stronger offering than the belated Batman v Superman offering. There might have been fears that Lego Batman's appearance would be lessened in his own feature film. Well forget your worries and just sit back and enjoy. The film does drag slightly with Batman refusing to grow up and embrace others, but with the sheer entertainment on show, this will be quickly forgotten. At the centre of the picture is the unlikely bromance of The Joker and Batman. Their mutual hatred makes them an essential match- all the caped crusader needs to do is acknowledge it.

It is hard to imagine anyone more perfectly suited to voice Batman than Will Arnett. His silky voice just fits this character like a glove. Even better though is Arnett's perfect channelling on Batman being like a spoiled child. Living alone in his mansion eating Lobster Thermidor, his temper tantrums are a continued source of amusement. Ralph Fiennes almost makes a perfect Alfred, embodying both the surrogate father figure and reluctant disciplinarian- Fiennes could have been a perfect live action choice. Zach Galifianakis has great fun as The Joker playing the insane king like a jilted prom date which works perfectly.

The Lego Batman Movie is a perfect source of fun for anyone who wants nothing more than pure enjoyment. Give this guy his own franchise and keep the laughs coming I say! Ben Affleck's upcoming feature 'The Batman' has a lot to live up to!

My Father, The Zero: Review of Toni Erdmann

Toni Erdmann

Director: Maren Ade

By Alex Watson

While its running time of almost three hours may deter some, others who stick with Toni Erdmann will appreciate its off the wall brilliance. In a movie that takes in a man wearing fake teeth, a naked brunch and some fine Whitney Houston singing, director Maren Ade has created one of the sweetest and funniest efforts of 2017. Father and daughter might take centre stage, but this picture is also about how weird and wonderful families can really be.

Winfried Conradi ( Peter Simonischek) is a middle-aged divorcee who likes to play practical jokes. After losing his beloved dog, he travels to Bucharest, Romania to connect with career-minded daughter, Ines (Sandra Hüller). After struggling to fit in with her busy life, Winfried tries a drastic joke. He attempts to establish a bond with her by creating a fake teethed alter ego named Toni Erdmann.

Toni Erdmann's oddball feel is felt from the very get go. Winfried answers the door to a courier and pretends to be his imaginary brother. The bemused look of the man delivering the parcel will become a familiar sight. Winfried is a man whose penchant for gags slightly strains relations with those he is friendly with. Ines and her father are chalk and cheese in the movies early part. She comes across an uptight careerist who sees his visit as little more than an irritation. The early scenes of him attempting to lighten the mood with her equally success hungry colleagues are terrifically awkward! He jokes to her boss that he has hired a substitute daughter who will clip his toenails. There is no real hatred or stubbornness between the two, just a disappointment they keep letting the other down. Watching her father sadly drive away is a crushing feeling during the opening act.

Maren Ade is determined to let the cringe factor remain at a steady level. One scene sees Ines' lover masturbating over petit-fours. However, when Winfried's alter-ego emerges the look of shock and embarrassment on Ines' face is priceless. What begins as her loathing his presence soon turns into a sweet and wholesome tale of a father and daughter finding their way back. Ines is a little unlikeable at first due to her workaholic nature. Her whole life is about forging connections, but the one most important to her she nearly alienates due to her frustration. Winfried's Toni Erdmann is almost like a bizarre therapy experiment. One scene he jokingly 'arrests' his daughter for taking drugs, only for her to realise she will have to take him to work.

One element touched upon in Toni Erdmann is how Ines' impressions of her ambitions slowly begin to crumble. She is trying to convince her big CEO how outsourcing will save them millions. Yet in one brilliant and potent sequence, Winfried sees how her ambitions will cause thousands of layouts and possible poverty in rural areas. This could be interpreted as some form of social commentary about the economic future by Ade! Slowly her father's antics help her to see another side and soon she is belting out Whitney Houston's 'The Greatest Love of All' Once the walls have been broken down, the reserved and almost humourless woman we saw is gone. Try not to be shocked by her birthday party but please do not attempt this at home either. Maren Ade's picture is the most deserving of the Best Foreign Film Oscar nominees because few efforts have really touched us like this.

As the old jokester, Peter Simonischek is a sweet buffoonish presence. The kind of relative you would probably avoid at a reunion, Winfried is a figure you can't help but adore. His continued pranks are a source of never-ending comedic brilliance. His openness is perhaps his most endearing feature because there is no sense of malice in his Toni Erdmann, just a desire to love his daughter. Sandra Hüller is also a revelation as Ines and her multi-layered performance is one to savour. At first, an ambitious climber with little time for the old man, once she lets her guard down Hüller injects a real human side to her. Her gradual desire to be closer to her father and in some ways capture his spirit for jokes elevates Hüller performance higher. If anything, her name should have on the Best Actress list.

Toni Erdmann is unlike any piece of foreign cinema you will see in 2017. A US remake with Kristen Wiig and Jack Nicholson has already been commissioned. Enjoy this before Hollywood wrecks our memories!

All That Glitters: Review of Gold

Gold

Director: Stephan Gaghan

By Alex Watson

Although it yearns to be this year's The Wolf of Wall Street, Stephen Gaghan cannot make Gold shine brightly. Matthew McConaughey's performance is very much what makes the film tick. Unfortunately, the movies relies a little too heavily on him for support. Years ago this might have been a thought provoking piece of cinema, nowadays it just feels like a run of the mill money drama.

Kenny Wells (Matthew McConaughey) is a prospector who is currently down to his last dime. Desperate to get rich, he flies to Indonesia on a whim where he meets mining legend Michael Acosta (Edgar Ramirez). Despite a tough start in the harsh jungle environment they miraculously strike Gold. As his name and wealth grows, Kenny soon becomes the focal point in a power struggle. With the feds also taking an interest will his luck hold out?

During the first act of Gold, you really get the impression that Kenny is the ultimate chancer. A boozed up and balding failure, Kenny attempts to keep his father company afloat selling speculative mining ventures using his outdated sales pitches. When he arrives in Indonesia the whole thing just feels like an exercise in futility. Although this sequence is key to setting up later events, Gaghan seems in a big rush to the important stuff. As the rain falls and Kenny struggles we never really get a good sense of precisely what is happening? When the big moment hits we merely shrug and say 'OK' to whatever is happening.

On the surface, Gaghan was the perfect choice to helm this project after directing Syriana and winning an Oscar for writing Traffic. Sadly he seems more interested in basking in McConaughey's glow that giving an insight into a intriguing industry. The later events feel like more like a formulaic rise and fall than a commentary on today's American market. While Kenny is raking in the dough and satisfying his nagging girlfriend (a thankless role for Bryce Dallas Howard), he also shows signs of greed (shock horror!). Big investors like Corey Stoll's Brian Woolf and Bruce Greenwood's Gold King Mark Hancock circle his fortune like a gull. His pride and refusal to allow his name to lose credibility are what will orchestrate his downfall.

The relationship between Kenny and Michael is integral to the success of Gold but yet Gaghan invests so little in it. Coming across as the wise and hard-working friends you would kill for, Michaels intentions are always a mystery.  Dipping in and out of proceedings his presences is missed whenever he is absent. Part of the issues of the story is that Gaghan seems to assume his audience is clued up on movies such as The Big Short. As a result, he dives headfirst into this story without giving us a chance to catch up. Although this tale of riches does have its moments, its lack of real drama and dilemma gives it a rather hollow feel. It feels like a movie made as a hail mary Oscar effort by its studio.

As mentioned Matthew McConaughey once more does his star credibility no harm and his efforts are sorely wasted. Injecting life into what is essentially a dull drama, McConaughey's Kenny Wells feels like a distant relation to Dallas Buyers Club's Ron Woodruff. Permanently sweaty and sauced up, Kenny Wells is the type of business man you move away from at parties. Edgar Ramirez also matches MM with a smartly downplayed turn. Michael Acosta is most definitely the smartest man in the room and knows it, he has nothing to prove and mend the fences Kenny breaks. Sadly Ramirez's performance hasn't nearly been the credit it deserves. One of the better supporting actors one day Oscar will take notice.

It feels surprising that Gold has been such a misfire when the hands making it were so skilled. It just proves that movies about wealth are not always a sure fire hit.