You Know My Name: Review of Jason Bourne

Jason Bourne

Director: Paul Greengrass

By Alex Watson

Although it is wonderful to see Bourne back on the big screen, Jason Bourne just doesn't feel completely necessary. This character has proven to be one of the smartest and well-developed creations in this new millennium. Paul Greengrass is able to conjure up those moments that we love throughout this picture and like always it is given a clever story complete with unexpected twists. Problem is that the constant turns become impossible to follow after a point and although it is wonderful to see Matt Damon and Greengrass resurrect their greatest creation, it doesn't thrill like it should.  

Jason Bourne (Matt Damon) lives off the grid in Greece and has hoped to put his troubles behind him. When his old colleague Nicky Parsons (Julia Stiles) comes looking for him, this already spells trouble. Soon he is implicated in a global encryption scam which sees him under the suspicious eyes of old school CIA Chief Dewey (Tommy Lee Jones) and new ambitious agent Heather Lee (Alicia Vikander). He must also contend with some difficult secrets about his past.

While it is not an unwelcome fifth entry, Jason Bourne was maybe a step too far. In places, it thrills and you forget how naturally Greengrass' direction fits this franchise. When we left Bourne floating in the New York waters, it was the perfect end to a wonderful trilogy that gave us possibly the best character arc. When we first see Bourne making a living as a bare-knuckle fighter on the Greek-Albanian border, it does make a nice reappearance. When his old lover/ally Nicky shows up and starts hacking the CIA, this is when shit starts to real. Tracked to Athens, he soon has his old nemesis The Asset (Vincent Cassel) chasing after him during a political riot. While Greengrass gives an impressive kick start, it's not all uphill from here. Discoveries about his true identity do keep this picture on its toes, but the big reveals just do not shock us anymore. In the previous three installments, each little red herring injected a little more excitement as who Bourne really was? Here it just feels like they are drawing out the mileage.

The main issue with the story line comes from its overloaded central premise, Bourne is still attempting to under just how he came to join Treadstone and when he discover his involvement may link close to home a new fire is lit. Grouchy and underhanded Dewey is an old style veteran who believes in just tying up loose ends. His conflict with his protege Heather who believes Bourne should just be brought in, Dewey adds little to picture and is reduced to shouting lines at random personnel. There is also the added problem of the perhaps unnecessary side story of billionaire Aaron Kalloor (Riz Ahmed) and his industry Deep Dream. Believing that privacy is key to society, Dewey naturally needs him for a key project and he is reluctant to assist. Living in a post-Snowden society has made the CIA anxious and now they are willing to risk people's freedom to stay ahead. So many different things happening at once really hinders the stories progress, also suffering is the disappointingly underdeveloped villain, The Asset. A cold and brutal presence, Asset is given precious scraps to feed off and is reduced to simply wordlessly killing people. He appears like a throwaway character added at the last second.

Greengrass does resurrect Jason Bourne during its final act set in Las Vegas. When he does car chases, there is no one else who nails them better and watching car fly and a SWAT vehicle plow through a casino is vintage Bourne. Overall this film does tie itself in well the with the other films but cannot escape being trapped in their shadow. Bourne is still a character who can make us pay attention and he still breaks bones and thinks fast like no other, but this time, it just feels formulaic. Part of us wonders whether this character really needed another outing when he was sitting pretty after a hat trick of great adventures. The plot has its merits and brings forward some potent theories over how much power the feds should really hold with their surveillance? However, you feel maybe too much is happening at once and before long our attention starts to slip.  If the final moments are to be believed then Damon's finest character will see another outing, question really is how much do we really want this?

Matt Damon again is great in this part and the principle strength of this franchise has been his ability to walk the line in between conflicted killer and living by a complex code. Bourne has been his greatest hour, but in his fourth outing, this just feels like he is going through the motions. Damon can surprise us with his character's quick thinking and still show great smarts when the pressure is building, but now is maybe the time to put this to bed. Tommy Lee Jones is required to do little more than stand there looking grumpy as Dewey. One of the really great presence's of cinema today, Jones is unable to really bring anything else to the screen other than just giving orders. Similarly stranded is the immensely talent Alicia Vikander who is asked little more than to speak in basically a monotone. With this caliber of cast, they should have made far more with the talent on screen and this feel like a missed opportunity.

Jason Bourne was perhaps not the wisest sequel that will be released in 2016, but while it doesn't quite hit the mark set by the original trio, it still poses some interesting arguments over our freedoms.

The Skin I Live In: Review of The Danish Girl

The Danish Girl

Director: Tom Hooper

By Alex Watson

A pair of electric performances from Eddie Redmayne and Alicia Vikander helps keep Tom Hooper's The Danish Girl alive. Although this is likely to secure both leads awards nominations, you can't help but feel this isn't a complete effort. The tale of Lili Elbe is one that is very humane and touching, but the script from Lucinda Coxon doesn't quite sparkle like we hoped. Hooper does well to give us a  powerful look at a person who risked it all to live comfortably in their own skin.

Einar Wegener (Eddie Redmayne) is a success landscape artist living with his wife Gerda (Alicia Vikander) in Copenhagen. Together the pair lives a free-spirited and loving existence as they both paint. When her friend Ulla (Amber Heard) cannot make a sitting, Gerda asks Einar to stand in for her. What begins as an experiment turn into a life-changing experience for both. Soon Einar sheds his own existence and becomes a woman called Lili. From this, he will campaign to become who he was born to be.

The early stages of The Danish Girl have a fine playfulness to them, Einar at first jokingly puts on some tights and ballet shoes. Before long, it becomes like a spiritual awakening and watching him putting on a nurse dress for the first time is like watching him be reunited with an old lover. Gerda initially indulges this fantasy, one scene seems them dressing Einar up and taking him to a ball. His transformation into Lili is where the movie crosses over and what begins as a risque adventure soon becomes strained. Watching her husband kissing the smitten Henrik (Ben Whishaw) is like watch her life fracture before her eyes. "You're different from most girls" Henrik whispers, the irony hanging painfully on the air.

Centrally the inner struggle for Einar to live as himself and Lili is the main firing pin for the movie. Lili is now part of the marriage and Hooper invests equal time in examining the reactions from both sides. Einar tries to effectively get himself into the role, which includes this year's most interesting nude scene (think Ted Levine in Silence of the Lambs). Gerde, however, both flounders and embraces this new side of him. "I want to speak to my husband" she insists when dealing with a fully customed Lili. Rather than pushing her away from us, Hooper highlights her inner strength and understand of the tricky card she has been dealt. Wisely we are given a key supporting presence in Hans Axgil (Matthias Schoenaerts), a former friend/lover of Einar who sparks a mutual attraction for both leads. Hans is the shoulder that bears the burden of the heavier third act.

Despite The Danish Girl being an excellently acted and beautifully made picture, you cannot help but feel there is a something missing. Perhaps it is the rather wayward middle act where the pair heads to Paris? During this sequence, there is perhaps a little too much of Einar's struggle. Gerde emerges as the real lead during this point, but although her feelings for Hans conflict with her love for Lili we get the impression that Hooper is filling time. Although the film struggles to keep up with the fine acting, it does give way to one of the most moving endings. Einar desire to become Lili is realized when he meets a doctor about sex reassignment. Stating he believes his is truly a woman, Gerde responds "I believe it too" Love is proven to survive change because the person underneath counts the most.

Eddie Redmayne gives the boldest and transformative role of his career. Firmly capturing a conflicted soul born in the wrong skin, Redmayne's plays almost a dual role. As Einar he is the man yearning for a difference, Lili is the one who embraces it and becomes his real voice. An assured nominee, Redmayne is a man at the peak of his talents. Alicia Vikander comes away as the real star of the picture. A strong willed and energetic presence, she stubbornly refuses to fall back into the loving wife role. Vikander carries the film where Redmayne cannot and effortlessly comes across as the emotional core of Hooper's film.

Outside of the two outstanding leads, The Danish Girl may not be the awards contender many predicted. This story is still a potent reminder of the difficulty of living a different life and the strength it will take to make a big change.

2015: A Year in Review

It's been another fine year for film on Closer to the Edge which included a Rocky resurrection, Tom Cruise proving he is still top of his game in the action genre and Shakespeare being beautiful. The Fantastic Four boomed yet again and was even slated by its director and Terminator: Genisys taught us to basically ignore everything we learned. Despite these blips it was an otherwise great year, here are the highlights.

Top Ten Films of 2015

1. Sicario (CAN/USA Dir: Denis Villeneuve): Tension personified from the very opening frame, Denis Villeneuve brought us 2015's most pulsating and heart-stopping thriller. Aided by Roger Deakin's stunning photograph of barren landscapes, Villeneuve sucks his audience into the dark underbelly of the drug cartel world. The lines between law and order are completely blurred and learn that in the place, there is no coming down on the right side. With star turns from Emily Blunt, Josh Brolin, and a quietly threatening Benecio Del Toro, this picture is deserved of the top slot. Read Review. 
2. Mad Max: Fury Road (AUS/USA Dir: George Miller): After spending years in development hell, the wait for The Road Warrior's return was worth every minute. The tale of there and back again might have some on the fence, but when you look at the sheer adrenaline and pure thrills from each action sequence- they pay for the ticket price alone. Tom Hardy was a worthy replacement for Mel Gibson, but as Furiosa, this was Charlize Theron picture. Will there be a fifth installment for Max? At this point, we all hope so. Read Review
3. It Follows (USA Dir: David Robert Mitchell) Sporting one of cinema's most clever story ideas and an excellent advertising campaign, David Robert Mitchell delivered the best horror film in years. Its premise of a person being infected with an unknown entity through sex and having to pass it on to survive was chilling. Even more so was seeing star Maika Monroe being pursued by a variety of creepy individuals. The fear of the unknown ensured a tense ride was to follow and both Monroe and Mitchell emerged as real stars. This also taught you the think twice about who you hook up with! Read Review 
4. Amy (UK Dir Asif Kapadia): After delivering big with Senna, director Asif Kapadia did it again with his homage to one of music's lost talents. Conducting over 100 hours of interviews with Amy Winehouse's nearest and dearest, he succeeded in giving another portrait of the woman we saw stumbled about. Showing her a young woman who loved her music but was lead astray by those closest to her was heartbreaking. By the film's climax, you will have wished that she had stayed away from mulish father Mitch. Watcher her shambolic final gig in Belgrade is certain to bring a tear. Read Review.
5. Room (CAN/EIRE Dir Lenny Abrahamson): Winner of the big prize at the Toronto Film Festival, this picture ensured that Brie Larson has finally arrived in the big time. Adapting Emma Donaghue's beloved novel was never going to be easy, Lenny Abrahamson however, was the man for the task. Larson along with stunning newcomer Jacob Tremblay stole audience hearts at the mother/son duo. This tale of two people confined to a room was a rendering one, the movie's second half in outside world was a surreal but life changing one. Read Review.
6. Red Army (USA: Dir: Gabe Polsky): Reflecting one of hockey's greatest teams was a brutal yet entertaining one. Slava Fetisov made for a humorous yet pained commentator, the former Soviet skipper loved the game but hated the pressure. Under ruthless and widely loathed coach Viktor Tikhonov, players were constantly pushed to the limit for glory. The scene of watching this team dominate the ice with skills and precision were mesmerizing. Defecting to the USA however, brought a darker cloud over the movie as players had to deal with all whole new hostile society. Read review. 
7. Carol (USA Dir: Todd Haynes): This year's greatest and most forbidden love story, Todd Haynes has given us two award-worthy performances from Cate Blanchett and Rooney Mara. Set against the backdrop of the repressed 1950's this love is full of pained longing and unspoken words. There was more to this picture than two ladies in love and Haynes gave us a realistic impression of what people go through when picking up the pieces in life and having to forge their own identity. Rich in both story and characters, Haynes delivered one of his finest in years. Read Review.
8. Creed (USA Dir Ryan Coogler): Resurrecting the Rocky franchise was one of 2015 most pleasing surprises. Reuniting Fruitvale Station's Ryan Coogler and Michael B Jordan resulted in a stunning one-two punch. New Creed offspring Donnie has paved the way for an excellent new side project. A hungry and determined presence, he has our attention from the outset and Coogler emerges as a real talent behind the lens during the fight sequences. Sylvester Stallone was the real star and showed us the  Rocky from old and how good he can be out of the ring. Bring on the next episode. Read Review.
9. The Martian (USA Dir: Ridley Scott): Back in the sci-fi saddle again, Ridley Scott delivered his most enjoyable recent effort. Expertly walking the line between drama and comedy, this tale of Matt Damon stranded on Mars never fails to entertain. Character Mark Watney makes a funny yet adaptable lead and his constant use of brains is what keeps things afloat. What could have possibly been Interstellar type heaviness is dealt with the needed light touch thanks to the smart writing of Drew Goddard and a multi-talented cast. Read Review.
10. Wild Tales (ARG Dir: Damian Szifron): Possibly this year's strongest foreign film offering, Damian Szifron's six tales of revenge were a unique mix. An opening sequence to remember as all passengers of a plane to their horror realizes they all know the same man. 'The Bomb' sequence proved the most as Ricardo Darin takes out his frustrations out on a shady towing company. The most offbeat black comedy we will likely see in a long time, it would be fascinating to see Szifron get his hands on a Hollywood picture. Read Review 

Best of The Rest 

11. Macbeth (UK Dir: Justin Kurzel) A barnstorming, violent and hypnotic adaptation, Kurzel breathes new life into Shakespeare. With great lead turns by Michael Fassbender and Marion Cotillard, these two give Macbeth and Lady a wonderful human touch amidst the madness. DP Adam Arkapaw delivers some of 2015 most beautiful cinematography.

12. Crimson Peak (USA Dir Guillermo Del Toro): Mexican maestro Guillermo Del Toro delivered his strongest American offering yet. Suitably creepy along with being hauntingly lovely, Mia Wasikowska had her hands full with any number of vengeful spirits. Let's not forget the weird brother and sister combo of Tom Hiddleston and Jessica Chastain either.

13. Goodnight Mommy (AT Dir: Veronica Franz & Severin Fiala): Any person who has ever considered having children may want to reconsider. The eerie ambiance of the lakeside house is disturbing from the get-go as two twins believe their heavily bandaged mother (Susanne Wurst) is an imposter. A growing malice takes over in the movie's second half and things take a nasty turn. 

14. Ex Machina (UK Dir: Alex Garland): Writer Alex Garland showed his directing credentials and gave us a thought provoking film on what is means to be human. Three-way tug of war between Domnhall Gleason and reclusive inventor Oscar Isaac for the affection of lady AI Ava was scintillating. With a star turn from Alicia Vikander, this movie proved a rare beast. 

15. Brooklyn (EIRE/CAN Dir: John Crowley): All movie tipping its hat to anyone who has ever moved to a strange new land, Crowley's film was a delight. Saoirse Ronan shone brightly as an Irish girl lost in homesickness in 1950's New York. Fitting into a new society is never easy, but sometimes life teaches us strangers are the best cure.

Male Star of 2015: Michael Fassbender

By far this year's stand-out figure, Fassbender has captured the screen with force in each of his efforts. Bold and stubborn in Steve Jobs, mysterious in Slow West and a mad wonder as Macbeth. Fassbender is now officially among the finest talents of today.

Female Star of 2015: Alicia Vikander

The Swedish beauty has been an effortlessly gracefully presence in each of her movies in 2015. An ambiguous but lovely robot in Ex Machina, a butt kicking vixen in The Man From UNCLE and now Oscar-tipped for the Danish Girl. This may have been a career year, but Vikander hasn't even got started.

Best Director: David Robert Mitchell: It Follows

Directing this year's most original work, Mitchell delivered a movie with such raw scares that it made walking down the road impossible. Showing a real eye for the fears of real people along with the spookiness of the unknown, Mitchell is a director with an exciting future ahead. 

Scene of the Year: Macbeth: Battle Scene

Justin Kurzel showed that battle sequences as almost be as entrancing as they can be savage. Cutting in and out of this slo-mo scene is simply glorious and the power of Adam Arkapaw's work is brought forward.

https://www.youtube.com/watch?v=puV69CWPfP8

Cold War Collision: Review of The Man From U.N.C.L.E

The Man From U.N.C.L.E

Director: Guy Ritchie

By Alex Watson

Although it suffers from a rather bland story line, Guy Ritchie's adaption of The Man From U.N.C.L.E is a stylish affair that succeeds as pure entertainment. The dream partnership of Henry Cavill and Armie Hammer is one that make the picture click. Ritchie is gradually making a career on steadily paced action flicks and his good run continues here. This perhaps isn't quite the must see blockbuster as originally intended but there is enough thrills and witty banter for us to want a second helping.

During the cold war both CIA agent Napoleon Solo (Henry Cavill) and KGB agent Ilya Kuryakin (Armie Hammer) are forced to work together to stop a fascist group. Hatred and rivalry is still simmering from an unforgettable first encounter in East Berlin. Thrown into the mix is Gaby Teller (Alicia Vikander), the daughter of a renowned Nazi bomb scientist who is a target for both agencies. Can both men work through their animosity and save the world?

A cool and calculated work from the very get-go, Ritchie opens memorably as we play at cat and mouse game in East Berlin. Through rescuing Gaby, both agents become acquainted when Ilya and his 'barely human' abilities are ably demonstrated as he literally rips the tail off Solo's car. When paired together the result is a fine one as Solo's witty yet insolent humour wonderfully plays off Ilya's embittered intensity. Together the men share the shame goals and underneath all the bickering and one upping there is a fine team underneath.  The dueling of minds, car chases and clever tricks from former thief Napoleon give the picture a slick feel that allows it to glide along.

The villains Alexander and Victoria Vinciguerra (Luca Calvani & Elizabeth Debicki) are a little low on taste and have nothing to do little else than look rich and cunning. Centrally the story is one of the few misfires of an otherwise fine ride because outside the cool imagery, it just feels like a standard ride. The original TV series did pride itself on the characters solving a problem a week. This picture though runs out of fuel after a bright start and the picture instead becomes confused on what exactly the prime focus is? Action sequences become less frequent and the picture suffers from a lack of growth through this.

Aside from these forgivable oversights, The Man From U.N.C.L.E is still a great experience and thanks to a wonderful triumvirate it does succeed. Gaby is perhaps the trump card for both men because she truly fears neither. The budding romance between her and Ilya might not completely convince but it does give a great boost in the side laughs department. There is also wonderful late addition of British agent Waverley (Hugh Grant) who shows up to near upstage boyj men with a dry but well-timed sense of funny. Working both as an offbeat buddy comedy and as an action flick, Solo and Kuryakin are a perfect match for one another.

The principle success of Ritchie's film comes from the excellent pairing of Henry Cavill and Armie Hammer. From the start the pair plays off each other magnificently and Cavill's cocky and suave way is matched by Hammer's ferociousness. Refusing to be upstaged, Alicia Vikander holds her own as the tough natured Gaby. Although wanted by both agencies, Gaby firmly makes it clear that she belongs to no one and Vikander gives her a smart edge that helps her stand out. In a brief appearance Hugh Grant also gets a laugh in as Waverley and shows what is perhaps his finest work in sometime.

Guy Ritchie has done a good job developing The Man From U.N.C.L.E and has delivered one of this summers cooler thrillers. It might not be perfect, but it has enough excitement and provides a wonderful threesome to shape a series. Next time it might be a different story... tune in next week to find out!

The Iron Lady: Review of Ex-Machina

Ex Machina

Director: Alex Garland

By Alex Watson

Although he is untested in the director's chair, Alex Garland's debut, Ex Machina is a revelatory piece of sci-fi cinema that tests the boundary of the human/AI relationship. But more than that, it asks makes us think hard about what it really means to be human? This movie not only combines some the great ideals that Garland has gathered in his previous work, but also is a unique and at times borderline creepy experience.

IT coder Caleb (Domnhall Gleason) unexpectedly wins a work place lottery and gets to spend a week with his reclusive boss Nathan (Oscar Isaac). But while at his large estate, Nathan quickly reveals a big secret behind his visit. He has constructed a living AI named Ava (Alicia Vikander) and is depending on Caleb to assess her through a series of communication session. But through these moments behind a glass wall, Caleb begins to wonder if this cyber woman can feel like other humans?

From the very get go there is a dark and tense feel surrounding Garland's picture and through this, Ex Machina has an uncomfortable sense of enclosure. The moment that Caleb is greeted by his genius boss beating a punchbag to rid himself of a hang over, we realize this a man like no other. Moments later he has one hell of a non-diclosure agreement thrust in front of him and is led to bedroom with no windows! Nathan succeeds at making our nerves jangle and as time passes him becomes more like the insane king of his own private land.

Together the two men are polar opposites, Nathan is the fun loving yet conspicuous boss who loves throwing out obscure references to oral sex scenes in Ghostbusters before spontaneously bursting onto his own private dance floor. Caleb is naive yet mistrustful of his surroundings, behind each wall lies some potential secret which Nathan wants to stay hidden at all costs. His initial admiration for his boss is skillful chipped away by Garland and his rightfully realized insecurities and fears are pushed in front of us gently.

The sessions with Ava are by far the movie's firing pin as through these, her responses and actions are unlike any we have seen. Her ability and slicing between any lie or truth  But amidst the budding attraction between and man and machine, there remain some firm and troubling questions? Can Ava truly be alive in her mechanical body? Are her feelings that are cognitive and genuine? Or this merely some ploy by Nathan or Ava for a more devious purpose?

Performance wise, Ex Machina belongs to the graceful yet heartfelt turn of Alicia Vikander as Ava! Precisely nailing each delicate movement, expression and dialogue, Vikander brings this lady to life and we instantly wonder whether there is living organism underneath the circuits? A rising star, Vikander shows that she is a talent to be reckoned with and alongside top support from both Gleason and Oscar Isaac this triumvirate makes the movie comes alive.

Alex Garland has hit the nail on the head with this effort and the screenwriter/novelist has finally brought together his ideas together. With Ex Machina he has given us a brain ticking effort that will give us serious thought about the future of AI! Feel secure now, Sonny from I-Robot?