Virtual Reality: Review of Ready Player One

Ready Player One

Director: Steven Spielberg

By Alex Watson

Adapting the beloved novel Ready Player One by Ernest Cline was no easy job. Few directors were better equipped for the task than Steven Spielberg. In stunning detail, the legendary director captures the virtual paradise that is 'The Oasis' and he stays true to the novel's pop culture references (including several cheeky nods to his own work). While it nails the look and feel of the novel, the characters in this universe feel underdeveloped on screen. The script by Zak Penn and Ernest Cline is well paced but the splicing and dicing of the original story will alienate hardcore fans.

Wade Watts (Tye Sheridan) is a teenager living in a decrepit 2045 Columbus, Ohio. With the world in ruins and society having fallen, most people opt to send their entire days inside the virtual reality world 'The Oasis'. This world was the product of innovator James Halliday (Mark Rylance) and Ogden Morrow (Simon Pegg). After Halliday's death, he left an Easter Egg within the game and whoever passes the three challenges required will inherit his entire company. Wade (playing as avatar Parzival) sets out to claim, but his quest will bring into contact notorious gamer Art3mis (Olivia Cooke).

Any fans who have ever wondered how on earth this imaginary world could even be plausible on screen- you will not be disappointed. Seeing this production in 3D is truly awe-inspiring and you will find yourself transfixed. Spielberg gives all kinds of hard to spot popular culture fun like a car race interrupted by T-Rex from Jurassic Park and King Kong and a battle scene featuring the likes of Jason Voorhees and Freddy Kruger. Literally, Spielberg populates his movie with some many little finds (Zemeckis cube anyone), you will find your eyes in a state of cat-like readiness. With it's 80's cheese soundtrack of Van Halen, Hall & Oates and Joan Jett, this world feels like stepping back in time while surrounded by the beautiful future. We never really learn how the world has declined into a people living in stacks, but in this movie, such details are considered irrelevant.

We learn early on that Wade is a 'Gunter' (a person who hunts the easter egg), this quest brings him to Art3mis' path and both emerge as two purists who are well ahead of the game. Their ability to clue into the smallest details while looking back through Halliday's old journals is mind-bending. Of course, sparks fly but his buddy Aech (Lena Waithe) remains sceptical on the subject of digital love. It also set up a hilarious sequence when along with the other gunters they are forced to search through 'The Shining's' Overlook Hotel. The scary old lady in the bathtub takes on a whole new meaning here.  A rival company IOI are looking to claim the egg for themselves. Nolan Sorrento (Ben Mendelsohn) is the corporate jerk out to ruin everyone's fun and he has amassed an army of people called 'Sixers' whom he owns through debt. He even sets up 'Loyalty Camps' to ensure anyone and everyone aids him. Sorrento is not a man who wishes to have the keys to the kingdom not because he is skilled at playing the game, but because he just wants to get even richer.

Despite this capturing the feel of Cline's novel, the story itself is left second to the visuals. The backstory of the falling out of Morrow and Halliday feels more like a tidbit here. Also, the actual quest Parzival undertakes is completely changed for the movie. Those who have read the book will be unaffected, but fans will fume. In the novel, Morrow plays a vital role in the potential success of our heroes, here this character barely registers. Although Wade and Art3mis make for a cute couple and they firmly stabilize the story both in and out of the game- the same can't be said for the rest of the supporting cast. Other Gunter's Sho (Philip Zhao) and Toshiro (Win Morisaki) are barely given a look in. The decision to bump up antagonist i-R0k (voiced by T.J Miller) is strange because he barely features in the novel. Spielberg does give us a realistic and utterly believable version of Halliday who in this universe was a shy and conflicted Steve Jobs type. Overall, it hard to complain too much about Spielberg's adaptation and it hard to imagine a better person to bring this world to life.

Tye Sheridan has recently been a young actor with promise through his turn's in Nic Cage's movie 'Joe' and the comedy 'A Scout's Guide to the Apocalypse'. Spielberg has always had a good idea for future and Sheridan is excellent throughout. Channelling the die-hard gamer who wants to save The Oasis from corruption, he has the movie's heart on display. Olivia Cooke who was so excellent in the dark comedy Thoroughbred's adds another impressive performance to her resume. Together these two are a charming pair of romantic leads. Mark Rylance, although very briefly on screen is scene-stealingly brilliant as the terminally awkward Halliday. Ben Mendelsohn however, is once again shortchanged in a big film. His Nolan Sorrento has the potential to be a cunning nemesis. In this universe, he just comes across an egotistical dick with little substance.

Ready Player One is a game that you'll want to play by the movie's end. Keep your eyes peeled though, you will busy spotting different characters.

Wild Horses: Review of Thoroughbreds

Thoroughbreds

Director: Cory Finley

By Alex Watson

A chillingly dark yet utterly bold comedic effort, director Cory Finley has created one of the more offbeat efforts of 2018. With a pair of superb turns from British actresses Anya Taylor-Joy and Olivia Cooke, Thoroughbreds is an absorbing picture about two girls who are emotional polar opposites. While it struggles to keep its composure towards the end, Finley has created a world which feels completely original.

Amanda (Olivia Cooke) is a teenager with an unexplained psychological condition and because of this, she has no feelings whatsoever. Reuniting with her old school friend Lily (Anya Taylor-Joy), the pair at first sift through awkward teen bonding, until Amanda suggest something radical. Lily's step-father Mark is both physically and emotionally abusive to her and her in-denial mother (Kaili Vernoff). To deal with the problem, Amanda proposes they kill Mark.

There is a jet black and almost dreamy feel to Thoroughbreds from the moment we lay eyes upon the glamorous and affluent Connecticut where Lily resides. Amanda is not that far removed wealth wise but she is most definitely an outcast due to her being blunt and having no filter. Forced to bond by their parents under the guise of SAT prep, after badly and repeatedly lying, Lily eventually confesses to being paid to do this favour. Amanda has been become the source of community gossip after brutally euthanizing her family's prized but sick horse. Watching her describe the act in such gory details and with such little emotion gives us all a chill. What starts as an uncomfortable reunion soon turns into an unconventional friendship. Although we can help but wonder what will happen once one of them is forced to take action.

Although Lily lives the rich life, her step-father continually proves that sometimes money only masks the bigger problems. He is rude, obnoxious and scarily obsessed with keep fitting. On their first meeting, he makes no attempt to cover his irritation that a strange girl like Amanda has entered his domain. When it comes to Lily, he is blatantly cruel and doesn't care about masking it. Amanda quickly figures that killing him would solve all their problems. Their plot to be rid of him also introduces hilarious side story of the ambitious but completely inept drug dealer Tim (the late Anton Yelchin in his final role). While he brags to high heaven about one day being the main man, he is, in reality, a lonely, social awkward creep who deals drugs to kids. However, there is a humanity to this character that makes him likeable and ironically he is one of the key components of their plan.

As it progresses, the already dark tone of Thoroughbreds gets progressively darkened. The technical aspects are partly to thank for this, particularly the wonderful Steadicam work by DP Lyle Vincent. Freely gliding through different rooms of Lily's home, Vincent makes us feel like we are stepping further and further into a labyrinth. Lily and Amanda are engaged in a movie-length game of mental chess. Amanda is most certainly the more confident and strong of the two and throughout Finley's movie, her former friend is always trying to get a read on her. Their exchanges are always stifled and tense ones and underneath the coat of gloss Lily is a sly and manipulative soul and there is a coldness that would probably spook a Frost Giant on Game of Thrones.

Both Anya Taylor-Joy and Olivia Cooke are superb in their roles as the potential killers. Cooke, in particular, is the master of one-liners and although she plays a girl who is a borderline psychopath, she also gives her a loyalty and heart that most would struggle to convey. Taylor-Joy plays the picture perfect preppy teen girl but gives her a wonderful sinister undertone. Throughout she looks like a porcelain doll whose skin is about to crack from the constant pressure. Paul Sparks (best known for his stints of TV's House of Cards and Boardwalk Empire) plays the antagonist role to perfection and makes for a wonderful tyrannical father figure. Its also provides a great last role for Anton Yelchin who as loser Tim is scene-stealingly great- just a shame such a promising talent was lost so early.

Thoroughbreds a movie whose tone may not suit everyone, but you cannot deny this is a fine piece of independent cinema.

The House That Stalin Built: Review of The Death of Stalin

The Death of Stalin

Director: Armando Iannucci

By Alex Watson

The death of one of the most brutal dictators in history hardly seems like comic fodder. Somehow Armando Iannucci's The Death of Stalin emerges as the one funniest and most original comedies you will ever see. Dark humoured to the point of being almost shocking in the closing stages, Iannucci shows the lengths men of power will go to secure the biggest position of all. It is also a throwback to the type of political chicanery we seldom see nowadays.

 When Josef Stalin (Adrian McLoughlin) dies from a fatal heart attack, his cabinet is soon thrust into a difficult situation. Deputy Malenkov (Jeffrey Tambor), Spymaster Lavrentiey Beria (Simon Russell Beale) and Moscow party leader Nikita Khrushchev (Steve Buscemi) all attempt to usurp one another to get their hands on the big prize. Scandals, blackmail and the added pressure of Stalin's drunk son Vasily (Rupert Friend) and unstable daughter Svetlana (Andrea Riseborough) are few obstacles to be faced.

Iannucci firmly captures the misery and terror that gripped 1953 Moscow, all around the person you spoke to could inform on you to the authorities and as a result, everyone feels paranoid. During the opening scene, Stalin requests a copy of a live classical music performance that has not been recorded. Cue music director Andreyev (Paddy Considine) attempt to prevent both the orchestra and audience from leaving- even this small task involves people fearing for their lives. The Death of Stalin has such a unique balance of raw humour and complete shock that it makes you feel guilty laughing. His comrades at first are simply attempting to get on with business, but as it becomes clear each of them has their own agenda, things get complex quite quickly. Beria, in particular, is happy to manipulate his supposed 'friend' Malenkov into his bidding under the guise of helping him achieve power!

This struggle for power is what makes Iannucci's picture so sharp. The persona of each wannabe leader is perfectly exemplified, Khrushchev is a sly weasel whose not afraid to play underhanded, Malenkov is a vain yet weak-willed temporary leader more obsessed with how his portrait will look. Beria, on the other hand, is a more sickening and frightful creature. A vulgar, pot-bellied rapist who openly brags about the tortures and murders he has committed, Khrushchev is keen for this man to not get what he desires. Throughout loyalties are always questioned and unions are made and broken in pretty quick succession. Stalin's Russia was not a place of trust and all the main comrades know someone has to go on the block to gain power. Things are also given a shakeup in the form of Jason Isaac's Yorkshire accented General Georgy Zhukov. A blunt and exceedingly irritated officer, Zhukov is responsible for some of the movie's best one-liners "Did Coco Chanel take a shit on your head?"

The Death of Stalin is a movie that absolutely captures how a single word could lead to someone winding up dead. It also shows the lengths that men of power will go to in order to defeat an opponent. Khrushchev is definitely the politician in this affair, but Beria is a man with no concept of a 'clean fight' and some of his methods displayed are just frightening. Throughout the writing by Iannucci, David Schneider and Ian Martin is both bold and daring and they are able to take the most surreal situation and make into some of the funniest and witty banter a British comedy can offer. However, all laughs are thrown out the window during the finale as the movies more serious and shocking is revealed.

The triumvirate of leadership also presents three excellent performances led by Simon Russell Beale as the reprehensible Beria. Mainly known for his London stage word, Beale plays this spymaster with such vigour that he really gets under the skin of this character. The sheer pride he projects when joking about the latest woman he's raped is uncomfortable, to say the least. Steve Buscemi is the perfect choice to play Khrushchev and few actors could have achieved quite the garrulous effect that this character has. A man who fights with his words, Buscemi makes full use of the character's ability to swim through the different social channels. Jeffrey Tambor might have recently made headlines for his alleged sexual misconduct, but his clown-like take on Malenkov is equally strong. A leader who's already been cut loose, Tambor shows a politician clinging to what little status he still has. Jason Isaacs however, almost steals the show as the foul-mouthed Zhukov and the sheer zing he puts into each insult guarantees laughs.

The Death of Stalin is a comedy that will amuse and stun audiences in equal measure, but you will not see a comedy quite like this for some time.

Identity: Review of A Fantastic Woman

A Fantastic Woman

Director: Sebastien Lelio

By Alex Watson

Deservedly awarded the Best Foreign Language Oscar, Chilean director Sebastian Lelio's A Fantastic Woman is both riveting and highly emotional viewing. An outstanding turn by Daniela Vega is what fuels this often devastating picture. The notion of a person's identity is the key theme here and throughout this character is treated with hostility and suspicion. Lelio's picture is also a compelling look at grief and how our worlds implode when we lose those we love.

Marina (Daniela Vega) is a woman who has found love with an older gentleman Orlando (Francisco Reyes). However, when he suddenly dies on her birthday, Marina finds herself thrust into the spotlight of his estranged family and treated as a suspect by the police. While she tries to soldier on, there is a new obstacle at every turn which will drive her to breaking point.

A Fantastic Woman has an almost idyllic start as we see Marina passionately singing in a nightclub and then celebrating and dancing with her lover. Quickly the rug is pulled out when he suddenly collapses and has to be taken to the hospital. Immediately, Marina is treated like a criminal from the police due to being a transwoman and they automatically assume she involved in prostitution. Orlando also fell down the stairs previously which also makes them believe it was an abusive relationship. She is immediately stripped of her identity and treated as a monster. One scene sees her forced to undergo a physical examination, Marina overhears the hushed whispers of a sexual abuse officer and her colleague who refers to her as a man. Our hearts truly go out to this brave woman who is left in strange and horrific new world with no-one to save her.

Orlando's family is little better to her either because she receives the whole spectrum of emotional treatment. Gabo (Luis Gnecco), Orlando's brother treats her with surprising kindness but his courtesy only extends so far. His ex-wife Sonia (Aline Kuppenheim) treats her with a confused and angry manner asking how she can possibly explain their relationship to others? There is a frightening scene where Marina is abducted and mistreated by Orlando's narrow-minded and brutal sons. Ostracised from the funeral and treated as a bad memory the family wants to forget, everything looks increasingly bleak. The sheer spirit and her refusal to be ignored are what makes Marina such an unforgettable character.  Viewed as a perversion by others, her desire to reclaim her identity and self-worth make for devastating yet uplifting viewing.

Another aspect of A Fantastic Woman that haunts Marina is the ghost of Orlando. Catching glimpses of her former lover is at first painful, then we realize he might be there for another reason. Unwilling to let the past slide away, Marina becomes more resourceful in the movie's final act. Although, it comes at an uneasy price as she is forced to dress like a man at one stage. This moment is both brilliant storytelling but also a very sad reality of how her identity will always be viewed no matter how hard she tries. Lelio emerges from this as yet another hot Chilean prospect and his upcoming story of forbidden love 'Disobedience' looks mesmerising right now. This effort is one that not only puts him on the map, but its one of the strongest pieces of cinema South America has to offer.

Daniela Vega is simply outstanding in a tough role as Marina. Unfortunately left off the Best Actress list come Oscar time, this is a performance of sheer bravado. Playing a beaten woman who refuses to play the victim, Vega is heart stealing throughout. Demonstrating a screen presence which is unrivalled, Lelio has found a fantastic new talent.

A Fantastic Woman is a movie that will remind us of some painful memories of loss, the treatment of Marina will also be equally tough to watch.

Red State: Review of Red Sparrow

Red Sparrow

Director: Francis Lawrence

By Alex Watson

While some have remarked that this picture is 'all style and no substance' Red Sparrow is still a movie that engages us. Director Francis Lawrence, reuniting with his Hunger Games star Jennifer Lawrence. There is an abundance of high-level violence in this tale of spying and betrayal. While Lawrence provides some great bits of visual flair, the story feels overly long and underdeveloped. A great cast is what keeps this afloat and once again Jennifer Lawrence shows how she can be a movie's saviour on talent alone.

Dominika Egorova (Jennifer Lawrence) is an acclaimed dancer for Moscow's Bolshoi ballet, but when her career ends due to injury her life goes down a very different path. Forced by her seedy politician uncle Ivan (Matthias Schoenaerts) to become a 'Sparrow', an operative who seduces potential enemies of the state, Dominika finds herself caught between a rock and a hard place. American spy Nate Nash (Joel Edgerton) has a mole when Russian Intelligence and soon his path will soon cross with hers.

Red Sparrow wants to be an accomplished and stylistic thriller. It has the style part down for sure, particularly during a dazzling opening which sees Dominika dancing. Throughout this movie, she is forced to put on performance after performance between Russia and America. When her life is thrown into turmoil, she has little option but to take Ivan's offer to ensure her sick mother (Joely Richardson) is cared for. Despite a confident opening stretch which firmly establishes to different narrative threads, Lawrence is unable to capitalize on this. During a gruelling training regime under Matron (the always watchable Charlotte Rampling), Dominika learns the hard way that her body must sometimes be sacrificed for the nation. While this section is often hard-nosed and brutal, it lacks the punch needed and feels like an excuse to show frequent sexual brutality.

Nate Nash, on the other hand, is dealing his own issues and due to some rather unfortunate behaviour in Moscow, the CIA is reluctant to let him contact his mole. Dominika, on the other hand, is given the task of rooting the mole out. Unfortunately, any hopes for a hard-bitten and tense affair are thrown out the window. Lawrence instead decides to focus on numerous and often gut-wrenching scenes of torture and violence and is unafraid to let the blood spill. This movie does provide stretches of good tension- such as a very nervy disk exchange in a London hotel room. The central love story between Nash and Dominika however, feels tacked on the sake of the film. Rarely do we get the sense they are anything more than collaborators and you get the sense that Lawrence is trying to inject some heart where it is least required.

Also, there is the debatable issue of exactly which side Dominika falls down on? Stripped of her identity and her will to live, she struggles with the notion of remaining loyal to her country. Her body has become her way of surviving and her weapon against the enemy. The movie's sexual themes have divided many along the way and those who view this movie will either find this inspiring or repulsive depending on your mood. However, Lawrence does keep the twists and deception rolling in until the film's climax, though it will be a hard slog to get there.

Jennifer Lawrence is the movie's ace in the deck and despite a slightly cliched Russian accent, she gives this piece her all. Her performance is tested both physically and emotionally and this is a more bold role than you would expect from this actress. Featuring a couple of very full frontal scenes, she is unafraid to embrace the more risky side of this character. Joel Edgerton also puts in a strong supporting turn as Nash and despite having little in the way of character, he makes this character stick out.

Red Sparrow is a more explicit effort than we have come to expect from Francis Lawrence. Though its violence may leave a bad taste afterwards.