Summer Lovin': Review of Call Me by Your Name

Call Me By Your Name

Director: Luca Guadagnino

By Alex Watson

Fair warning before you see Luca Guadagnino's latest- this movie is heartbreaking in all kinds of ways. Call Me by Your Name is a movie that expertly and breathtakingly showcases the pain of true love. Set against the lush and stunning Northern Italy backdrop, this movie is far more just a feast for the eyes. Two magnificent central performances by Timothée Chalamet and Armie Hammer is what brings this piece to life and Luca Guadagnino emerges as Europe's new directorial threat.

During the summer of 1983, Elio (Timothée Chalamet) is spending his summer sunbathing, transcribing music and casually dating his girlfriend Marzia (Esther Garrel). His peaceful existence is interrupted by the arrival of Oliver (Armie Hammer) who arrives to assist his father (Michael Stuhlbarg). Over the next six weeks, a romantic connection ensues and Elio's world is turned inside out.

Any lovers of Guadagnino's previous work I Am Love and A Bigger Splash will be aware of how he can combine subtle humor with crippling emotional blows. Call Me by Your Name is a romantic film that sizzles in the summer heat. However, Guadagnino's brilliant piece is one that forces its audience to endure and as this tale slowly progress our hearts slowly crumble. A smart and well read 17-year-old, Elio is a confident and respected young man. Used to owning every room and dinner he visits, the arrival of Oliver automatically sends him into a flat spin. At first, disliking Oliver's natural charm and charisma, Elio attempts to avoid him. Its made apparently obvious that this unease is definitely physically related and the pair has a chemistry that is undeniable.  As the attraction between them intensifies, this sparks crackle all around.

Guadagnino's film fills its summer days with a variety of parties, dinner, dancing and endless relaxing by the pool and lakes. There is a lazy and peaceful feel to the flow of this movie, each day Elio dwells on his feelings is another lost opportunity. His parents seem aware of the budding romance between the pair and seem even to encourage it. One particularly emotional monologue by Stuhlbarg at the movie's climax is particularly heartbreaking. The pangs and longing of first love are beautifully expressed here- Guadagnino also finds some borderline creepy moments such as Elio smelling Oliver's bathing suit. Once the awkwardness melts away, a passionate love is born. Guadagnino isn't at all interested in showing explicit sex, instead, he focuses on the intimacy and the warm glow it brings. Before long the pair is becoming inseparable, but there is that inevitability that this will have to end soon.

Call Me by Your Name comes down hard on its audience during an overwhelming third act. The most poetic things about this movie are how little effect words have on the story. Every gesture, longing embrace, and pained expression tells us the whole story. Elio is shown to be a young man coming into his element but is shaken to the core over how raw and deep his feelings go. There is also a vibrancy and depth to the supporting characters too- Marzia is only a few brief moments of screen time has a profound effect. Even Elio's mother Annella (Amira Casar) is there to bring a tenderness when the movie most needs it. Few movies in 2017 are as earth-shattering as this one, the final shot is one of pure emotion. Take a moment to sit in your seat and get yourself together, you will definitely need it

Timothée Chalamet is a stunning find in Guadagnino's movie. Wearing the movie's heart on his sleeves, the young actor feels so natural it's impossible to believe he's acting. Feeling at ease with the movies rollercoaster of feelings, Chalamet is a talent that deserved to rewarded at this year's Oscars. Armie Hammer is also superb as the cocksure yet big-hearted Oliver. Coming across as the dreamy 'Odd Jew Out' All-American, Hammer draws both Elio and his audience to his brand of charm. One of the most dependable actors around, Hammer shows a newer and more rounded side to his talents. Never thought of as one for romance, this could a new career renaissance.

Call Me by Your Name will bend your heart into so many ways you will need to requisition a new one. A real romantic juggernaut, Luca Guadagnino's Suspiria remake will now be even more anticipated.

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.

Fierce Creatures: Review of Nocturnal Animals

Nocturnal Animals

Director: Tom Ford

By Alex Watson

In just his second feature, Tom Ford has created something remarkable with Nocturnal Animals. A psychologically jarring piece, the ugly side of marriage and revenge is uncovered. Injecting multiple stories into a film can often be problematic. Ford makes each different chapter so essential to the film's feel. With riveting turns from both Jake Gyllenhaal and Amy Adams, this is one of cinematic experience that will leave you thinking for days.

Susan Morrow (Amy Adams) is a wealthy yet troubled owner of a Los Angeles art gallery. Her marriage to philandering husband Hutton (Armie Hammer) is failing and she questions her passion in life. One day she receives a manuscript from her ex-husband Edward Sheffield (Jake Gyllenhaal). The book entitled 'Nocturnal Animals' is a disturbing and possibly true account of revenge. The more she reads, the more Susan finds herself revisiting her old marriage and the harsh way in which she ended it.

Nocturnal Animals is a revelation because storywise because it seems impossible that all fits together. Beginning with an almost vulgar title sequence of a plump naked woman dancing with sparklers- Ford's intent to shock is clear from the start. Throughout the three different narrative's, all have their own unique factor to keep things interesting. When we first meet Susan it is made apparent that although she is rich and successful, her personal life is a mess. Constantly she lives in fear of turning into her domineering mother (Laura Linney) and is questioning her life choices. When she gets Edward's manuscript, which strangely is dedicated to her, Susan is reinvigorated. The novel tells the story of Tony Hastings (also Gyllenhaal) who while driving through West Texas one night is rammed off the road by Ray Marcus (Aaron Taylor-Johnson) and friends. This sequence is one of the most disturbing and tense imaginable as the lives of Tony and his wife and daughter (Ilsa Fisher and Ellie Bamber) are in the balance.

This whole manuscript appears to be a retelling of the bitter end to Susan and Edward's picture perfect marriage. They married as idealistic grad students against the wish of Susan's mother. Soon after it was revealed that Edward was little more than a dreamer and wasn't the strong person that she needed. Edward's bitterness towards their eventual divorce is laid out plainly in his book. Tony is a weak man who struggles to protect his wife from the clutches of death. Later in the book, he hooks up with unorthodox Detective Andes (Michael Shannon) who is determined to see justice. Revisiting her old life leads Susan to some hard truths. Although Hutton is the strong-willed husband that she always wanted, he is also just a playboy with a ring. The art that she has believed in for some many years has lost all value to her and now she is simply keeping up appearances. Edward has perhaps morphed into the successful and daring writer she always hoped, but why has he approached her?

Ford's fascination with the dark underbelly of humanity is what gives Nocturnal Animals its wonderful edge. Tony's descent from being a mild mannered coward to a bloodthirsty hound is utterly believable. Paralleling Edward's anger towards his unexpected life turn, both characters are filled to the brim with an unshakable sadness. Susan feels cold reading this story, but it also expands upon her regrets over the way their marriage ended. When the brutal act of betrayal is revealed, suddenly the content on Edward's novel become frighteningly clear. As Tony hunts down Ray, it feels like a Tiger slowly crawling out its cage. Tom Ford fills the air with unspoken hatred and these are some of the most memorable scenes imaginable. There is such raw emotion involved with this picture, it will make us all revisit past breakups and question our motives. Visually Ford's direction is a treat throughout. With such ease, he drags his audience into this world of pain and makes us unable to look away.

Amy Adams gives another mesmerising performance as Susan Morrow. On the one hand, she is a successful and confidence woman, but Adams gives her a deep anguish beneath her perfect appearance. Jake Gyllenhaal is marvellous twice over, as Edward, he is a headstrong idealist who is unable to read between the lines. Playing Tony, he is the loving family man being taken to a dark part of the soul. Gyllenhaal excellently embodies the movie's painful voice and gives a turn of such believable emotion that he steals every scene. Michael Shannon shows why he is one of the most capable supporting actors around. As Andes, he makes the most of his screentime. A detective with nothing to lose, Andes is concerned with procedure and would rather see Tony's enemy dead than go free. Aaron Taylor-Johnson is also suitably creepy as Ray and resists the urge to go OTT. This is one villain whose death we pray for.

Nocturnal Animals is one of the most unforgettable experiences that you might see this year. Tom Ford waited seven years for his return and his wonderfully crafted tale of revenge has been worth the wait.

Long March To Freedom: Review of The Birth of a Nation

TIFF EXCLUSIVE

The Birth of a Nation

Director: Nate Parker

By Alex Watson

With all the recent controversy surrounding Nate Parker's past indiscretions, it is easy to forget what a tremendous piece of cinema The Birth of a Nation really is. Winner of the big prize at this year's Sundance Film Festival, Parker shows in unflinching detail the brutality and ignorance of America's slave past. Nat Turner's slave rebellion was one which changed the tide, but refreshingly Parker doesn't seek to glorify his actions, but merely state what change was needed.

Groomed from a young age to be a preacher to his fellow slaves, Nat Turner (Nate Parker) is at first contented to spread the word of the lord. As he begins to tour other plantations with his master Samuel Turner (Armie Hammer), his eyes begin to open to the harsh treatment bestowed upon other black slaves. Soon his inner restlessness will see him leading what will become a defining chapter of American history.

Equally beautiful and horrifying, The Birth of a Nation is a movie that refuses to hold itself back. Starting in flashback, Nat is a boy prophesized to be a great leader by a tribe and plays free with young Samuel and is treated lovingly by Elizabeth Turner (Penelope Ann Miller). This innocence is quickly shattered when his father is caught stealing by racist Raymond Cobb (Jackie Earle Haley). Having become useful picking cotton, Nat soon convinces Samuel to buy his future wife Cherry (Aja Naomi King) which saves her from probable sexual abuse from other owners. With his farm in despair, Samuel is given a way to gain money to save it when corrupt and racist Rev.Walthall (Mark Boone Junior) by getting Nat to preach to fellow slaves to remind them of their place. During these visits, he views the deplorable conditions many slaves find themselves. At first, he nervously preaches from his brothers to accept and obey their masters, but before long his speeches become fiery and vengeful.

Parker refuses to apologize for the anger and oppression he feels telling this tale and all throughout Nat sees the cruel treatment whites bestow upon him. Actions as simple as addressing a white lady lead to her husband beating him. Another sequence sees Cherry horrifically assaulted by Cobb and his cronies simply because they can. The imagery we see interspersed through this is very mind jarring, such potent images as a corn cob become seep with blood foreshadows the violence to come. The straw that breaks the camels back is when Nat is forced to endure seeing a slave being brutally force-fed by the master knocking his teeth out. Samuel is at first a benevolent and protective master, but as a man forced to keep up appearances his kindness only extends so far. Wrestling with his faith and wanting to understand the path God has laid out for him, his increasingly bad treatment by Samuel pushes him over the edge.

When Nat executes his wrath on his oppressors, we see some of the boldest filmmaking of 2016. The Birth of a Nation neither praises nor condemns Turner's actions as he descends into mass murder to free his people. There is an element of heavy-handedness to Parker's direction as we see him murder one member before a cross like stained glass window and another slave cut the head off his hated master. The waters are stirring in the lands of Southampton County, VA and Turner's actions spark off a sea of white hatred. One disturbing yet hypnotic sequence set to Nina Simone's 'Strange Fruit' sees slaves being mass killed. Historically the accuracy of this story will be long debated, as will its depiction of Turner as an almost Jesus-like figure during its climax. The sheer power of Parker's script gives a powerful voice to the ghosts of the slaves who have been consigned to the past.

Alongside writing and directing this piece, Nate Parker also proves to be a captivating leading man. A capable star in the movie Beyond The Lights, Parker gives his Nat Turner such presence that he fully owns every moment on-screen. Many will focus on the controversy surrounding his past rape allegations, but Parker still emerges as one of the most exciting triple threats to hit the screens this year. His passion in bringing this story to screen makes his audience feel every inch of pain, suffering, and levity that Turner experiences. Armie Hammer also matches his director and co-star in an impressive supporting role as Samuel Turner. Appearing to be a courteous and well-meaning master, Samuel, in the beginning, seems to be a man who fights for his own. As the movie progresses, Hammer makes his agenda perfectly clear and convincingly portrays a man whose hospitality comes at a price.

Brutal, honest and unflinching, The Birth of a Nation is a picture that will both delight and spark controversy in equal measure. However, you will not see a bolder picture in 2016.

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!