I, Monster: Review of Colossal

Colossal

Director: Nacho Vigalondo

By Alex Watson

An original and amusing premise, it is a shame that Nacho Vigalando doesn't expand more on the silly side of Colossal. While on the one hand, it's a wonderful alternative comedy, there's also a heavy-handed seriousness that comes alongside it. While the monster visual effects are impressive, you are left feeling a little confused over what kind of movie this piece wants to be?

Gloria (Anne Hathaway) is a jaded party girl who has been thrown out by her boyfriend Tim (Dan Stevens). Relocating to her childhood home in Middle America, she reconnects with former school friend and bar owner Oscar (Jason Sudeikis).  During her stay, the world is left in shock when a giant monster suddenly appears and attacks Seoul, Korea. Slowly Gloria begins to realise that she and this beast might be neurologically connected.

The first half of Colossal is a goofy and enjoyable ride. Gloria is a woman lost in a drunken haze, her introduction sees her breeze in hungover yet again and gives Tim another series of bad explanations that see her kicked out. Jobless for over a year and without prospects, she goes home with her tail between her legs. Her time with Oscar initially gives the movie a rom-com feel as he gives her a waitressing job and she hangs out with him and his buddy's Garth (Tim Blake Nelson) and Joel (Austin Stowell). When the gigantic monster appears, Gloria along with the world is initially horrified. Then she begins to notice the beast has some familiar hand gestures. Then it becomes apparent that whenever she crosses as a local playground at the same time each morning, she is wreaking havoc on South Korea. Frustratingly we never really get a proper explanation for how she and the creature are properly connected.

What begins as a lark soon becomes something else. Watching her drunkenly show off her big secret to her buddies is the comic highlight. Soon it is revealed that Oscar is also able to appear in Seoul as a massive robot. It is from this point that Vigalondo switches the tone of the film completely. As Gloria attempts to abstain from alcohol, Oscar's behaviour towards her grows colder. Obviously still attracted to her even after years of no contact, a more possessive and creepy side comes over him. This is where the picture begins to lose direction, although this picture has comedic chops it seems to want to go more into drama mode. A darker approach dominates the remainder of the movie and it feels very out of place. Convinced that no matter how out of control he acts, his lady friend will stay with him Oscar soon becomes the bane of Gloria's existence.

The real monsters of Colossal are revealed to be Gloria and Oscar and their descent into a huge fallout is putting lives at risk. One scene, Oscar shows off by stamping his feet around the playground. Each big step has screams coming after it, what started as harmless fun has turned into a life or death scenario. Gloria might not be the easiest character to warm to, but compared to Oscar she is definitely more able to save herself. Had Vigalondo keep things along a lighter line this could have been more memorable. Then again, it's hard to keep a movie about destruction bright and breezy for too long.

Anne Hathaway still proves she can play a likeable loser as Gloria. Always acting on impulse, her life has become a series of explanations which all lead to the same conclusion. The way Hathaway plays her growing horror about her situation is marvellous. At first the hapless drunk, her ascent to being more resourceful shows she is still a great lead. Jason Sudeikis at first appears to be going along the same lines of his nice guy style. This is a darker and uncomfortable part than he has been allowed to play previously. Sudeikis makes for a decent villain and it will be interesting to see if gets another chance to let loose again.

Colossal is a picture that has a truly original premise, but due to the confusion over its direction, it's not one that will stick in our memory.

Tribe Called Quest: Review of The Lost City of Z

The Lost City of Z

Director: James Gray

By Alex Watson

Director James Gray takes a step into a different world with The Lost City of Z. Echoing the feel of Werner Herzog's 'Aguirre: The Wrath of God', Gray's take on British explorer Percy Fawcett's ill-fated Amazonian expedition firmly captures the obsession of finding the impossible. The jungle is presented as the ultimate danger and the haunting ambience that surrounds it never ceases to be nervewracking.

Major Percy Fawcett (Charlie Hunnam) is a British soldier seconded to the Royal Geographic Society. Sent to Bolivia on a mapping expedition, Fawcett finds evidence of what he believes to be a lost civilisation. Determined to make himself stand out from his contemporaries, Fawcett makes several trips to the Amazon jungle with running mate Costin (Robert Pattinson). Life and several unfortunate circumstances always seem to get in the way.

The Lost City of Z is at its strongest whenever Fawcett crosses over into the jungle. Gray masterfully builds up the suspense to unbearable levels. Will there be an attack by native tribes who hide in the bushes? Or will any number of wild beasts come calling? Fawcett is presented as a man who is frowned upon by his superiors. His 'unfortunate choice of ancestors' has marked him as tarnished goods despite being a dutiful and accomplished soldier. Chosen to 'referee' a mapping quest between Brazil and Bolivia- this assignment is as much about reclaiming his families honour as it is about advancement. How Fawcett keeps his composure in the jungle is fascinating. When threatened by heat, bugs, tribes and in-fighting between other men, he still commands with authority.

While on land, this picture does occasionally stray from the path. The side plot of Fawcett and his devoted wife Nina (Sienna Miller) feels drastically under-explored. Also, there is an over lengthy diversion into his WW1 service. What Gray does best is showing the burning desire the man had to find what others dismissed. The very notion of there being a civilisation older than our own is mocked and scorned by other RGS members. Each time he ventures back into the jungle, we yearn for him to find what he seeks. However, the lavish green of the Amazon seems to be at odds with him constantly. Each time he comes across a new band of savages or a tribe of cannibals, Percy has only his wits to keep him alive.

Although it is a well-paced movie, you can't help feeling that The Lost City of Z is perhaps longer than it needs to be. James Gray seems determined to flesh out as much story as he can. While there are some fine moments, such as the later scenes with adult son Jack (Tom Holland), you can sense Gray is desperately trying to fill time. As a person, Fawcett is compelling and his bravery such as facing gas attacks in no man's land or ducking for cover from tribal arrows is always astounding. Unfortunately, Gray's script never goes deeper than it needs to and we don't get a full understanding of the man himself. Although his honour is never in question, at points we wish he hadn't taken one final risk.

Charlie Hunnam gives a performance that is very two handed. While in the jungle, his presence is magnificent and he shows the cool head that Fawcett would have needed. Back at home, he doesn't quite convince with the film's more emotionally demanding material. An unlikely choice given his lack of physical resemblance, Hunnam does give us a glimpse of dramatic potential. Sadly the always watchable Sienna Miller is left on sidelines as wife Nina. A pillar of strength to her family, her effect on the movie is only minimal. Robert Pattinson again impresses post-Twilight with solid support as faithful companion Costin.

The Lost City of Z is a picture that goes into the very heart of darkness. Percy Fawcett was a man whose bravery and dedication really marked him out as the last great explorer.

Bullet With Butterfly Wings: Review of Free Fire

Free Fire

Director: Ben Wheatley

By Alex Watson

To quote Lock, Stock and Two Smoking Barrels "I don't fucking believe this can everyone stop getting shot!" In Ben Wheatley's Free Fire, that is very much the case.  Proving himself across different genres, the British director proves to be adept at doing action films. Essentially two hours of people firing weapons and insults at each other- Wheatley along with executive producer Martin Scorsese somehow keeps this thrilling.

In 1970's Boston, Irish criminals Chris (Cillian Murphy) and Frank (Michael Smiley) along with fixer Justine (Brie Larson) are purchasing weapons. Buying from sleazy arms dealer Vern (Sharlto Copley) and brokered by Ord (Armie Hammer), things go smoothly at first. However, when Frank's drug addled brother in law Stevo (Sam Riley) starts a fight- all hell breaks loose!

The way that Wheatley and co-writer Amy Jump measure the pace of Free Fire is what really makes the difference. Starting a slow yet energetic pace, we see Stevo battered and bruised from a fight taking smack to dull the pain. Each character introduction has a vital stamp on the plot itself, Chris and Frank are ones losing patience quickly. Ord is the well-dressed smooth talker who is immediately suspect, while Justine politely brushes off Chris' awkward flirtations. When Vern appears, he is another kind of creepy but is endlessly quotable "Vern and learn baby!" The amount of different stories going on at once are impressive. All the characters have different hopes and expectations for this deal- but there is also an air of tension that immediately threatens the balance.

When Stevo resurrects an argument with another member of Vern's clan, Harry (Jack Reynor) things go south quite quickly. While everyone attempts to calm things down at first, bullets are soon zipping through the air. For the next hour, Wheatley sets about meticulously planning possible exits and end game scenarios. What makes this a different type of shoot-em-up is the intelligence the story displays. At given points, characters attempt compromises to try and end the violence. Guessing which characters will remain loyal and which will turn is frequently entertaining. You also feel the pain the characters feel each time they are shot. Seeing them attempting to crawl to safety gives this a more realistic feel than most action pieces.

Despite Wheatley giving Free Fire a promising opening, his middle act of people shooting at each other does drag on. At one stage we wonder precisely what the payoff will be? Although there are surprises galore, the finale isn't one that provides any great thrills. The excess violence has been criticised by many, but the picture cannot exist without it. However, the strength of characters is what boosts things. Each one has their own agenda and it is impossible to decipher who is working with who? Wheatley also gives his film an air of cool along with some great dialogue. A director wearing a lot of different hats these days, Wheatley again proves that he is one for the future.

This ensemble cast is served well by standout turns by Brie Larson and Armie Hammer. Larson is the sly vixen whose intentions are ambigious at best, while Hammer is gives his Ord a suaveness that thinly masks his psychopath persona. As usual, Sharlto Copley threatens to steal the show and his Vern is what you will come away remembering. His cringe worthy attempts at chatting up Justine are worth the admission fee alone. Also he is possible the most clear-cut character of the lot, all he wants is the money- as he spends majority of his time reminding people.

Free Fire is a movie that although dips in quality in the middle, is nonetheless a cool and creative shooter flick.

Fight The System: Review of I, Daniel Blake

I, Daniel Blake

Director: Ken Loach

By Alex Watson

Winner of the 2016 Palme d'Or at Cannes- Ken Loach's I, Daniel Blake gives a powerful voice to those affected by the UK benefits system. Showing a man being given the run around by uninterested jobcentre job centre workers and call centres, Loach gives a middle finger to bureaucracy. A movie filled with sadness, Loach's second win at Cannes was as worthy as his first.

Daniel Blake (Dave John) is a middle-aged worker living in Newcastle that is trapped in his own personal hell. Recovering from a major heart attack, Daniel is unjustly denied his employment and support allowance because the government has deemed him fit for work. Only able to claim jobseeker allowance, Daniel is constantly fighting the decision only to be put round in circles by the system. He also befriends desperate mother of three Katie (Hayley Squires) who is also struggling to keep her head above water.

Throughout I, Daniel Blake, Loach passionately defends the workers who have paid their dues to society. Daniel has been judged fit to work, but his doctor refuses to let go back. His nightmare is filled with form filling exercises, endless hold music and having to learn how to use computers due to technically illiterate. Middle aged but very skilled, living in an age of technology has left his era far behind. The apathy that is met from his jobcentre coaches who dismiss his futile efforts is what really sinks the knife in. Desperate to get back to work, he is forced to attend worthless CV seminars filled with cliched phrases and go door to door beginning for work. In post-Brexit Britain, this scene will likely become eerily familiar.

Katie's introduction is where Loach's film delivers its heaviest blows. Another victim of the cold bureaucracy of the system, her opening scene sees her thrown out the jobcentre for arriving a fraction late. Her pleas fall on deaf ears and they only want her out to avoid a scene, her explanations count for nothing between these walls. New to Newcastle having been forced to leave London due to no accommodation- Katie is barely holding on. While visiting a food bank, she is so overcome by hunger she eats baked beans raw from a tin. Daniel's kindness gives her some stability, but when faced with a lack of money she turns to a new line of work. This revelation is possible the movie's most upsetting feature.

It would be unfair to say that I, Daniel Blake is a bleak and miserable experience because Loach does find warmth in unlikely places. As a character, Daniel is a charismatic and despite the cruel hand he has been dealt, he refuses to back down. His relationship with his neighbour who sells knock-off trainers always raises a smile. The moment when he spraypaints his plea on the job centre wall is one that inspires. Down to his last nerve, Daniel's frustration boils over in the most creative way possible. Loach makes it clear to his audience that people should not just be numbers in the queue and that the failure to listen to reason often sees good people take drastic measures.

Comedian Dave Johns is stunning as Geordie Daniel. Playing him with a sense of wounded pride and an ever growing disgust, John's perfectly carries across the frustration of the everyday man.  Out of touch with society, John's carries across his scenes struggling to learn computers with a deft touch. Hayley Squires, however, is the one who carries our sympathy. A woman yearning to provide, her descent is one that will steal your heart. Loach's desire to cast unknown talents is one that still pays off big time.

I, Daniel Blake is a movie that everyone should study in terms of how people should be treated fairly and equally. It will also make you want to look closely at any future health assessments.

A Beautiful Mind: Review of Gifted

Gifted

Director: Marc Webb

By Alex Watson

While it's script might not be perfect, Marc Webb's Gifted is a movie with a great deal of heart. Making the most of the charms of debut actress McKenna Grace, Webb's film about a child genius is one driven by heavy emotion. While this family drama does boast some fine performances, it approach feels way too formulaic.

Mary Adler (McKenna Grace) is a 7-year-old girl who lives with her boat repairman uncle Frank (Chris Evans) in Florida. When she begins first grade, it becomes apparent that Mary is a mathematical genius. While the school offers to send her an academy for gifted children, Frank outright refuses the offer, stating that his late sister wanted her to have a normal life. The arrival of his estranged mother Evelyn (Lindsay Duncan) will ignite a bitter custody battle.

The easy going feel of Gifted does serve it well in the early stages. The minute Mary steps into her first day of class- she's like an acid-tongued whirlwind that teacher Bonnie (Jenny Slate) cannot handle. Mary is very much a child far removed from the rest of class, but having no friends her ages is of no great concern "Kids my age are boring!" she shrugs. Neighbour Roberta (a drastically underused Octavia Spencer) is a close to a friend as she allows. There is also a sense of sadness and frustration of being out there on her own. While the early scenes show a lovely bond between Uncle and niece, you can sense this is not built to last. Frank is wary of the attention and pressure of being a prodigy- his sister was entirely devoted to solving the notoriously difficult Navier-Stokes problem. Failing to do so resulted in her suicide and Frank taking custody!

Once word gets out of Mary's ability with numbers- Evelyn breezes back in much to the reluctance of Frank. After this introduction, the movie's dynamic shifts to being more of a courtroom piece. Evelyn abandoned his sister when she became pregnant as she considered her talents wasted. Moving the movie to the law courts- this piece soon becomes a mudslinging affair. Sadly we never really get the full sense of the family feud and everything seems far too civilised for this type of battle. Part of the issue is that we're not sure quite why Frank's status as guardian is being challenged? He has provided, given loving stability whereas Evelyn has shown no interest in her grandchild since birth. Webb gets too wrapped up in finding reasons to drag this family apart that it interferes in the logic of the film.

Gifted is a movie that desires to run on sheer emotional power. While unashamedly a tear jerker, Webb thankfully doesn't resort to courtroom fireworks to get his point across. There are numerous question raised as to whether farming Mary out to higher learning institutions will be a blessing or a curse? Frank is always steadfast in his view that Mary should be a normal, happy child. However, having already outgrown her current academic surroundings, there is always a notion of her becoming restless and resentful. Annoyingly the picture doesn't ever expand on this point and the difficulty morality of this choice is second place to family issues.

Chris Evans in a change of pace from playing Captain America is still as likeable as before. While it might not be a career defining performance, he is still a nurturing and amiable presence. McKenna Grace is left to steal the show with ease. While in a difficult of playing the smart-alec child with the ability to annoy, Grace carries it off with effortless charm. Possessing a sharp wit and quick answer for anything- this young actress is impressive as a young girl with a dangerous set of brains. While cold and mostly unlikeable, British actress Lindsay Duncan is also related as Evelyn. A woman wanting to correct earlier mistakes, her intentions are always in conflict with another.

Gifted is a movie that returns Marc Webb to the talents he displayed in movies like 500 Day of Summer. Although its direction is a little confused, it is still impossible to dislike.

Gimme Shelter: Review of The Zookeeper's Wife

The Zookeeper's Wife

Director: Niki Caro

By Alex Watson

While there are some emotional high points, director Niki Caro never finds a fine balance in The Zookeeper's Wife. A standout turn from Jessica Chastain is what keeps this picture together. Set against the Nazi invasion of Poland- there are some jarring images. Caro however, never seems sure whether to expand on these horrors or tell the tale of a loving wife protecting her animals? What should have been a poignant tale of a man and wife struggling to survive feels remarkably shallow on quality.

Antonina Zabinska (Jessica Chastain) lives a happy life running the Warsaw Zoo with husband Jan (Johan Heldenbergh). When the Nazi's invade, their lives are thrown into turmoil from the bombings. With their zoo depleted the husband and wife turn to another occupation- saving lives. Realising the danger Jewish citizens are in, the pair secretly shelters hundred of people. Antonina also catches the eye of ambitious Nazi zoologist Lutz Heck (Daniel Bruhl) which brings a great danger to all.

Caro starts The Zookeeper's Wife in dramatic form. Starting with a peaceful almost dreamlike opening, the love Antonina feels for her life is obvious and she cares as much for the animals as her family. When the zoo is devastated by a bombing raid, our hearts with the Zabinska's as the animal flee from their destroyed cages and roam the streets. Sadly, we never really get a proper insight into this family because Caro seems to dip in and out between a moving tearjerker and a picture that depicts the devastation of the invasion. Many parts of the couple's story are simply blacked out and often are left wondering precisely what is going on? For example, mid-movie Antonina suddenly gives birth to another child. Not once before do we ever hear a squeak about this.

You may think that this is Antonina's story, but in fact, Jan bears more of the stories weight. Forced to do the heavy lifting hiding Jewish citizen under garbage, each time he crosses the German checkpoint our pulses rise. Antonina also has her own problems as she is the one who has to hide the Jews during the day. A tough task considering Nazi patrols are around the zoo daily. During these sequences, there are chills to be had because the slightest noise could spell disaster.  Lutz is at first the charming yet arrogant 'animal lover' whom claims to have no interest in politics. Big surprise he later turns up wearing a Nazi uniform. Although the picture's typical boo-hiss villain, his presence always ruffles feathers as his obvious attraction for Antonina shows through.

Caro does inject some moving images into The Zookeeper's Wife such as ash falling from the liquidated Warsaw ghetto or Jan reluctantly helping Jewish children onto a train. It's the lack of the depth into the Zabinska's that hinders its development. Rarely do we get a proper glimpse at the love or passion for this marriage. Caro also leaves far too many questions surrounding events and these unexplained passages frustrate us. The hardship the couple suffered during war-ravaged Poland is never in doubt, but we never really getting a feel for it either. The bravery that it took to hide away hundreds of people was insurmountable. Disappointingly the movie never takes full advantage of the danger present and the electricity in the air is constantly on low voltage.

Jessica Chastain is the main selling point of this picture and as always she gives a big heart. Antonina Zabinska is a woman trying to help everyone she can. Chastain plays this character with a purity of heart and she willing dives headfirst into danger. Johan Heldenbergh is noteworthy as the self-sacrificing Jan and his heartfelt turn makes him as a bigger star as the leading lady. It's the restraint he shows during the risk he takes that endear him. A cool head is required to outmanoeuvre people and Jan walks through fire more than once. Daniel Bruhl has a great presence as Heck but outside of making demands and acting threatening is drastically underused. After his turn in Civil War far more could have been made of this character.

The Zookeeper's Wife is a picture about remarkable courage and putting other human lives before our own. What the Zabinska's did during wartime is worthy of cinematic depiction- just a shame this movie doesn't do them justice.