The Iron Lady: Review of Atomic Blonde

Atomic Blonde

Director: David Leitch

By Alex Watson

There are few actresses on the planet better at kicking ass than Charlize Theron. Set against a thumping 80's soundtrack, Atomic Blonde is a gloriously pompous ride with a heroine to die for. Referred to as the female version of John Wick, director David Leitch (also John Wick's co-director) brings an effortless cool to proceedings. While the story might falter slightly during a lopsided third act, the entertainment factor never once goes below thrilling.

In 1989 Lorraine Broughton (Charlize Theron) is a British MI6 agent sent to Berlin to investigate the murder of a British agent by KGB. In the last days before the Berlin Wall falls, the city is ripe with corruption and murder. Forced to work with dishevelled agent David Percival (James McAvoy), Broughton must work hard to get back a vital list of double agents that has gone missing. If KGB gets their hands on it, it will mean a cold war extension.

Despite its setting during the final days of the Cold War, Leitch doesn't overload the story with political themes. Atomic Blonde is a wonderfully straight forward story of revenge, Broughton is a cunning heroine from the very beginning. Secretly mourning the death of her lover and fellow agent. This trip is as much about getting square as it is neutralizing the threat. Watching her crawl out of a bathtub of ice cubes covered in bruises gives only a hint of what she is capable of. Jumping back and forth from an interrogation with her superior Eric Gray (Toby Jones) and shady CIA man Emmett Kurzfield (John Goodman), we learn quickly that she is an unreliable narrator. However, she is also a sleek and ruthless killer who can also put on the charm in a heartbeat. In short, this is one compelling lady who can break bones and hearts in equal measure.

Percival is an operative who brings his own set of problems. An MI6 golden boy gone wrong, he is a continually hungover liability with 'bad Sinead O'Connor hair'. His agenda is to simply make money and swimming between East and West Berlin has him frequently dodging bullets. Also on the horizon are French operative Delphine (Sofia Boutella), who takes a romantic interest in Lorraine. The first half of Leitch's movie is all about fine tuning, but his style is very fluid and stylish one and this benefits the movie greatly. Along with Lorraine's ruthless and sexy edge, the film glides along on rails. Set in a cold and frozen Berlin, the danger she faces is well portrayed. Any one of the allies she makes could double cross her in the blink of an eye. Berlin is a city where rules have long since departed and every man and women are for themselves. Leitch's set piece direction, in particular, shines brightly, especially during an ambitious 8 minute one take fight scene. A ferocious display of punches, kicks and bullets- Lorraine is like a caged animal released as she fights against a multitude of enemies. Leitch follows this up with a breathless car chase in reverse- this is an early candidate for scene of the year.

What holds back Atomic Blonde is its writing because although the story is free of any needlessly long explanations, there are also too many unanswered questions. Lorraine is a ballsy character but certain elements to her character are left unexplained, likewise Percival and his descent into black marketing. Writer Kurt Johnstad seems to go for a level of intelligence the movie just doesn't have and the frequent twists and turns become unbearable towards the end. While for the most part, this is a well-polished affair, there are still specks that need cleaning up. When you have been given a rip-roaring ride like Leitch's movie, such errors are easily forgiven.

Charlize Theron proves she is Hollywood's main lady when it comes to playing tough female leads. Her Lorraine has a wonderful sly touch to her and the sheer amount of layers Theron adds are astounding. Morally ambiguous from the get-go, Theron turns in a multi talented performance that is as sexy as it is cutthroat. Lorraine might not have the same strength as Furiosa but she is every bit as tough. McAvoy is able to match his A-list co-star with a sneaky and slimy performance as Percival. The Scottish actor keeps this character's intentions secret throughout and it's a supporting turn that is always evolving.

Atomic Blonde provides cinema with the best female heroine of 2017 and is a movie to just sit back and enjoy- just try not to ask too many questions.

The Beach: Review of Dunkirk

Dunkirk

Director: Christopher Nolan

By Alex Watson

Few war movies have captured the horrors and struggle of WW2 quite like Christopher Nolan's Dunkirk. From the opening frame, this movie has its audience holding their breath in a worried silence. Celebrating a real miracle of wartime, Nolan shows us that heroism is found in the most unlikely places. Shining brightly during its numerous combat sequences, Nolan's movie is equally powerful during its quiet moments.

In May 1940, 400,000 British soldiers have been stranded on the beaches of Dunkirk for some time. Rescue efforts have proven futile due to a large number of German's surrounding them. Facing a horrifying ordeal and a potential invasion of their homeland, military personnel such as Commander Bolton (Kenneth Branagh), RAF pilot Farrier (Tom Hardy), army private Tommy (Finn Whitehead) and civilian sailor Mr Dawson (Mark Rylance) must all do their part to make a miracle happen.

Diving straight into the action, Dunkirk rarely gives its audience a chance to stop and think. Low on dialogue, Nolan uses the pictures to tell the story rather than dragging it down with a lengthy and wordy backstory. British soldiers are facing a hellish scenario and overhead the Germans frequently bombard them with air attacks. The wailing sounds of the fighter planes hurtling are like hearing death from above! Home is so close yet so far (39 nautical miles to be precise) and Nolan makes the sense of hopelessness feel so apparent. In one powerful scene on a windswept beach, one British soldier wades into the sea in despair. The movie is cut into three different sections 1. The Mole which deals with the situation on the beach, 2. The Air: which focuses on the RAF dog fights to protect soldiers on land and finally 3. The Sea which is where Mr Dawson roams into view.

The imagery of this movie is what truly sticks in the mind. Nolan has mesmerised our eyes before in Inception and Interstellar, but in this picture, he refuses to fall back on computer visuals. The powerful image of watching thousands of soldiers duck for cover during an air attack is far more jarring than CGI. The horrors of this war are frequently brought to our attention- in total four ships are sunk and rescue attempts have to continually restart. Watching young Tommy trying to drown out the sounds of gunfire while underwater painfully emphasises the torture that will follow. The concept of everyone doing what they can gives the movie an inner strength. Mr Dawson is a man willingly heading into a world of trouble and when he rescues Cillian Murphy's shellshocked 'Shivering Soldier' he sees how much he will have to endure. However, never once does his desire to save soldiers wane. Nolan doesn't seek to glorify this conflict and there is no overbearing sense of patriotism. In simple terms, it's about showing just how much ordinary people can be put through when things are on the line.

Although the timelines of Dunkirk's three stories often go back and forth in time- they are skillfully put together. Aided by Hans Zimmer's pulsating and ticking score- we know every second counts. Tommy and another young soldier Alex (Harry Styles) show the end of the innocence during the war. Pushed to breaking point they resort to increasingly desperate measures to get home. Farrier patrols the air with a calm authority and despite his fuel situation being unclear he still knows that each plane he lets slip away is one more than the British need. The air sequences provide Nolan's movie with an injection of thrills. A throwback to old air classics, Nolan films real Spitfire's flying against the vast number of German fighters. Goosebumps are guaranteed to appear whenever they fly by and for once a lack of CGI is a real blessing. Cinematographer Hoyte Van Hoytema's glorious photography is what makes this journey such a harrowing yet inspiring experience.

Despite established names like Branagh and Hardy being billed, their impact on this movie is minimal. Newcomer Finn Whitehead has an arduous task of being the very face of the ordinary soldier- but he carries it off effortlessly. Showing a conflicted soul, Tommy's exposure to the shock of combat shows a boy who is becoming a man way too soon. Harry Styles might have divided opinion with his casting, but as young Alex, he truly excels. Showing a depth of emotion and talent which will surprise many, Styles proves he has some fine acting chops. Mark Rylance once again proves he is now Hollywood's go-to man for supporting roles. His Mr Dawson is as selfless as they come and Rylance gives him a bravery that is iron-clad.

Dunkirk is a movie that will be rivalled by few this year. Some might see Christopher Nolan as a director who believes he is smarter than his audience, but this picture shows that he can also deep when given a straight story to tell. Highly recommended.

This is the End: Review of War for the Planet of the Apes

War for the Planet of the Apes

Director: Matt Reeves

By Alex Watson

Closing out a trilogy can often be tricky but Matt Reeves gives Caesar and his band of apes a triumphant finale. War for the Planet of the Apes is continually thrilling third instalment but Reeves also injects a heartfelt touch where it is needed. The previous outing Dawn only hinted what this franchise could achieve. Together apes truly are strong and few could have expected a final act quite like this one.

Set two years after the previous events- Caesar (Andy Serkis) and his followers have located to a place deep in the woods. Desperate for peace and for his people to be left alone, Caesar issues an ultimatum. After an attack by a vengeful Colonel (Woody Harrelson) leads to tragedy for their leader- war between man and apes is declared.

Rarely taking a breather during a hectic first act, Matt Reeves plunges War for the Planet of the Apes in battle mode early on. Opening on a horrific firefight by soldiers and apes- the 'leave us alone' message is made violently clear. Caesar has become a weary and war fatigued leader who is haunted by visions of his friend Koba (Toby Kebbell) whom he killed in Dawn. Nothing is more gut wrenching than the sneak attack the Colonel issues soon afterwards. In the blink of an eye, his peaceful intentions are torn to shreds and his lust for revenge becomes overpowering. Unable to shift his anger, Caesar sets off to settle scores- but not without taking his loyal friends Rocket (Terry Notary), big lug Luca (Michael Adamthwaite) and his voice of reason Maurice (Karin Konoval) along for the ride.

The actual war part of this picture involves little actual warfare, Reeves wants to get to the heart of his characters rather than giving his audience 'Free Fire' with apes. The emotional content is decidedly heavier and even the biggest of fans will be questioning Caesar personal motives. Along the way, the apes show glimpses of being more human than their enemies. Picking up a mute human girl (Original Apes movie purists should look out for clues), Maurice forges a tender father-daughter bond with her. Our nameless Colonel, however, is an entirely different story. Shaving his bald head from his tower up high in his graffitied compound- his soldiers worship him like Kurtz in Apocalypse Now. One smart touch the movie makes is how perceptions of him shift rapidly throughout. At first, the wild eyed mad-man with who wants apes eradicated, soon we begin to clue in that certain events have influenced his fears of humanities eventual decline.

During a lengthy sequence when the apes are rounded up and used as slave labour to build a giant wall (wonder where this idea came from?) Reeves resists the urge to go full rebellion. Instead, he gives things a more thoughtful and considered approach. The smarts of the ape's plan and how well it is executed brings back memories of The Great Escape. Caesar emerges as a true cinematic hero during all this, particularly when willingly allowing himself to be flogged. Finally, when Reeves releases the much-anticipated fireworks, the result is surprisingly deep. Questions of differences between humans and apes surround War for the Planet of the Apes. "Look at your eyes, almost human," says the Colonel to Caesar at one point. Rather than letting the bullets fly and pleasing the popcorn audience- Caesar's final revenge is shown with great emotional depth. The complexities between the two leaders show the pain and suffering the comes with command.

Andy Serkis confirms his status as one of the most under appreciated actors of his time. What he achieves with his motion capture of Caesar is truly remarkable. Every little gesture rings true and the variety of expression and conflict from just using his eyes deserves big credit. Were there any justice, Serkis would be a multiple Oscar nominee by now. Woody Harrelson mixes in some great stir-crazy as the Colonel. At first, a pure antagonist intent on causing havoc, our opinions are forever changing whenever he appears. As the layers come off, Harrelson shows us a highly conflicted soul. Always a tall and looming presence, Harrelson plays the villain role well. Steve Zahn also impresses as the childlike Bad Ape- a coat and bobble hat wearing chimp. Showing an innocence and charm to this picture, Zahn shows a truly human side to these creatures.

War for the Planet of the Apes is the mighty finale this impressive series deserved to go out on. If Hollywood ever (and quite likely) reboots this again- good luck surpassing these movies.

Teenage Fan Club: Review of Spiderman: Homecoming

Spiderman: Homecoming

Director: Jon Watts

By Alex Watson

Spiderman has been a hit and miss affair ever since he webslinged his way onto our screens in 2001. Sam Raimi's original trilogy brought us two excellent outings and completely forgettable third. Marc Webb's two Spidey pictures were excellently acted but seemed to lack a certain substance. For Spiderman: Homecoming, director Jon Watts goes with a lighter touch and for the most part succeeds. This movie might just be the most accurate depiction of Peter Parker yet.

Still buzzing from helping Tony Stark (Robert Downey Jr) in Berlin, Peter Parker (Tom Holland) is anxious to make full use of his powers. Given a new suit, he is soon keeping the neighbourhood safe while at the same time crushing on classmate Liz (Laura Harrier). Former salvager Adrian Toombs (Michael Keaton) has moved into the heist business as flying criminal Vulture. Despite the warnings of Stark, Parker is determined to bring him down.

What makes Spiderman: Homecoming a breath of fresh air is how honestly it portrays Peter Parker. Coming off as the ultimate Avengers geek, we see him make a video diary of his time in Berlin. The bane of Happy Hogan's (Jon Favreau) phone, Parker is shown as your typical immature adolescent. This side of the character was always lacking before and he never seemed to come across as uncool enough. Watts puts all that to rights because Parker is believably nerdy alongside his fellow geek friend Ned (Jacob Batalon). Always failing to keep his feelings for Liz under wraps, his problems are always neatly (and sarcastically) summed up by classmate Michelle (Zendaya). Keen to run before he can crawl, Peter doesn't know the limits of his own powers. Tony Stark in this picture comes off as the surrogate Dad figure, who is always scolding his new prospect for the right reasons.

Vulture is definitely Marvel's most straight up villain but unfortunately not its deepest. A former blue collar worker attempting to salvage scraps from the Avengers New York Smackdown- he is sadly booted off the site by Stark's people. Toombs is in the game to make some green, so there's no tragic backstory or sinister revenge motive needed. Despite some well-acted moments, he just doesn't come across as particularly threatening. He is a smart guy and his schemes are always fool proof, this movie needs a stronger nemesis to make Spidey sweat. Another key issue is the lack of love interest, while Liz is a pretty and sweet young thing- she just doesn't seem deep enough for Peter repeatedly crush on. Aunt May (Marisa Tomei) feels drastically underused but thankfully she doesn't have the task of reminding us of power and responsibility. Despite these minor flaws, there is little else to really grip about.

Watts had a tough job balancing Spiderman: Homecoming, but he seems to stick the landing. His control of the action sequences is never less than gripping. The standout sequence comes when Spidey must save his friends at the Washington Monument. Rather than just retread the old and well known Peter Parker backstory, Watts simply gets on with the job. This lighter touch serves this reboot well and avoids adding more content than the film can handle. Peter's new suit is a recurring source of laughs, especially since he is barely in control of it. An array of cool new weapons (who knew Spidey had grenades?) could be a handy tool in future outings.

Tom Holland has been the perfect choice for Peter Parker and he comes the closest to accurately playing him. So lame he kind of cool, Holland embraces the awkward yet brave side of the character. Running headfirst into difficulties, Holland's over-excited Parker is believably rash when it comes to his choices. However, he gives this character a maturity that serves him well in the later stages. Michael Keaton again shows what great presence he can bring and how intimidating he can be in the right role. The problem is his Adrian Toombs doesn't have enough outside his tough guy persona. Keaton is great as the everyman wanting to provide, but this character is made for heavy lifting.

Spiderman: Homecoming shows that despite excessive reboots, Spiderman is still a character that has not lost its appeal.

The Guest: Review of The Beguiled

The Beguiled

Director: Sofia Coppola

By Alex Watson

Sofia Coppola was deservedly awarded the Best Director award at the Cannes Film Festival. The Beguiled is a movie that oozes sexual tension and makes the most of its dark and tense feel. Showing the consequences of desire, Coppola focuses on the arrival and later descent of an unwelcome male visitor in a strong female house.

John McBurney (Colin Farrell) is a wounded Union soldier who has deserted during the Civil War. Chancing upon young student Amy (Oona Lawrence) he asks for refuge. Reluctantly taken into an All-Girls school by Martha (Nicole Kidman), his presence causes friction among the women. Although charming and appealing, soon his behaviour becomes a cause for concern.

There is a disturbing ambience to the Virginia setting from the opening frame of The Beguiled. The isolation of the woods and loneliness of the location alone creates an almost haunting atmosphere. John's appearance lights the fuse and from there Coppola slowly builds the seductive feel. Having the enemy lodging in a Confederate territory is not an appealing prospect, but frequently they relent because it is the charitable thing to do. McBurney is a slippery fish to handle as he seduces and flirts with all who comes across him. Teacher Edwina (Kirsten Dunst) is conscious of the danger he possesses but still gets caught up in his charms. Young student Alicia (Elle Fanning) is more direct and confident in her pursuit and this competition soon threatens to unbalance everyone.

It could be viewed that Coppola's movie is as much about female relationships as it is about unspoken desires. John views himself as the potential man of the house, a view we all debate vigorously throughout. The innocence that Martha has worked so hard to attain is quickly ripped apart and soon the school is ablaze with rumours and whispers. McBurney at first has a ball fighting for their affections and Irish lilt gives him the lovable rogue quality. The threat of having to turn their deserter guest over to avoid trouble is a never ending back and forth debate. What McBurney could do if tossed out of the house feels like more trouble than its worth. During the movie's middle section, Coppola excellently gives her movie an internal strife despite some obvious red flags.

The sheer shock and awe that goes into the final third marks The Beguiled out as Coppola's finest in some time. Having been a contented house guest, McBurney shows a different and altogether frightening side when things come full circle. Like a wounded tiger trapped in a cage, his presence goes from unwelcome to downright hostile. Coppola smartly shows which side holds the cards and the female bonds go deep. Paying attention to the small details is a wise move in this picture because they are ones which come back to haunt people. The ending given is as stone cold as any you will see this year. Sofia Coppola has had an up and down career, for every Lost in Translation there's a Marie Antionette. This picture shows what a talent she can truly be.

Colin Farrell gives a fine two-sided performance as John. On the one hand, a good man stuck in a bad situation, on the other a trickster who is bluffing his way through life. Farrell makes full use of his natural charisma and makes it fully believable how one man can cause so much havoc. Nicole Kidman is likewise excellent as the lady of the house Martha, a character who adheres to a strict code of conduct. Despite her concerns, she succombs to the same thoughts and feelings of those around her. Previous Coppola contributor Kirsten Dunst gives a wonderfully repressed performance as Edwina. Trying to remain true to herself, John is making her want to abandon her life. Elle Fanning gives one of her strongest performances as the no longer innocent Alicia and shows just why she's one of the finest young actresses around.

The Beguiled is a movie that firmly demonstrates Sofia Coppola's talents and makes us wonder what she has up her sleeve for the future.

While You Were Sleeping: Review of The Big Sick

The Big Sick

Director: Michael Showalter

By Alex Watson

Based on the real-life relationship of star Kumail Nanjiani and his wife Emily V. Gordon (also co-writers of the film) there are not many films as touching and authentic as The Big Sick. Its genre is tough to define because it walks the line between romantic comedy and emotional drama. Director Michael Showalter brilliantly showcases both the unique humour and heavy sadness that fill this movie.

Kumail (Kumail Nanjiani) is a struggling Chicago stand-up whose strict father (Anupam Kher) and mother (Zenobia Shroff) are hoping to marry off. Wanting to live his own life, one night he meets the charming Emily (Zoe Kazan), who hopes to be a therapist. Although their relationship blooms, the risk of his families disapproval becomes too great. Ending their relationship- Emily soon falls into a coma due to an infection and a distraught Kumail must now contend with her parents Terry (Ray Romano) and Beth (Holly Hunter).

Although they make a small alteration to the portrayal of their relationship, most of what Nanjiani and Gordon show of their relationship is true. The Big Sick makes this pairing winning from the get-go with a meet-cute when Emily calls out during Kumail's gig. Playfully scolding her for 'heckling' him, the pair soon falls hard for each other despite Kumail's 'two-day' dating rule. The early part puts a big emphasis on the cultural barriers between the two. Forced by his mother to endure a number of 'surprise visits' from eligible Pakistani women- his family makes it clear he may only marry within his own culture. This confession to Emily is the first sign of the movie's sad feel and the break up that follows is devastating. However, this emotional punch is weak compared to the brutal one-two combo that follows.

The picture's real heart comes from the bonding between Kumail, Terry and Beth. Openly hostile to her ex at first, the pair merely wants him to go on his way and let them do the heavy lifting. Once the early anger subsides, all three clue into the fact they need to pull together. Much of the movie's humour comes from the most unlikely places- like Terry awkwardly mentioning 9/11 and Kumail's priceless response when asked about his stance "Oh anti- we lost 19 of our best guys!" Beth and Terry are going through own issues due to one of them having an extra-marital affair which has strained their marriage. Kumail seems to be a healing factor for them as much he aids them to cope with the potential loss of Emily. One scene sees Beth passionately stand up for Kumail when he's racially heckled during a performance.

A portion of The Big Sick deals with Kumail attempting to find his own identity in America against his Pakistani Muslim upbringing. Refreshingly how Showalter shows his relationship with his family is done with great skill. Shown as affectionate people who love their son but are bound by rules and tradition. Kumail's desperately wants to please them but wrestles with wanting his own life. Even when not on screen his longing to reconnect with Emily is painful to watch. Showalter slowly builds up the emotion to almost boiling point which causes Kumail to have a meltdown during a key moment of stand-up "It's hard doing stand up while your girlfriend is in the hospital!" Few movies have one a better balancing act than this film and its a credit to the believable and heartfelt script of Nanjiani and Gordon.

Playing himself Nanjiani loses none of his likeability and this raw and honest depiction draws him to us throughout. A man torn between two different paths, Kumail wants to go his own way but risks losing those closest to him. Together with Zoe Kazan, the pair is quite possibly the loveliest couple to make their way on screen in 2017. Although her screen time is limited, Kazan's presence is felt even while absent. Making full use of her down to earth and sweet persona- she is utterly winning. Ray Romano and Holly Hunter also make great support as the bickering parents. A pair going through every parent's worst nightmare- both have scene's with Kumail that reveal the sweet-natured people that lie underneath the concern.

Not many movies will make you go through the entire emotional spectrum quite like The Big Sick. Proof that the smaller movies are starting to take over this summer- this is one I urge you to seek out.