Ace's High: Review of Molly's Game

Molly's Game

Director: Aaron Sorkin

By Alex Watson

Aaron Sorkin's first time behind the lens is certainly an entertaining one. Molly's Game has plenty of visual and narrative trickery to make it a slick and engaging drama. Although Sorkin shows promise, this movie doesn't quite have the winning hand needed. There is great tension and intrigue in the gambling world that Molly Bloom immersed herself in and a typically strong Jessica Chastain gives this tale a boost.

Molly Bloom (Jessica Chastain) is a former skier who has recently moved to Los Angeles. Quickly she finds a job working for a douchey Hollywood executive who asks her to organize a weekly poker night. Immediately she discovers a knack for running game night's and soon she attains a big celebrity clientele. However, her ascent to becoming a 'poker princess' will lead to her eventually crossing into illegal territory.

Molly's Game is a movie that clearly respects and admires its subject. In a breathless and enrapturing opening, we meet Molly as a member of the U.S Ski Team attempting to qualify for the 2002 Salt Lake Olympics. When she is injured, she has to rethink her career path and this is what leads her towards the poker world. Bloom soon emerges as a contender with both the savvy and smarts to build an empire. At first, she lives by a tight moral code as she refuses to accept payment and stays away from gambling herself. The early heyday is where the movie is at its strongest and Sorkin builds a great interest in not only how the game functions but the methods Molly uses to stay ahead. The movie moves back and forth between past and present to when Molly is being charged for her alleged involvement with the Russian mafia. Attorney Charlie Jaffrey (Idris Elba) is now faced with a near-impossible task of keeping her out of prison.

To keep her out of the big house, Molly must reveal what she knows to the US government. Keeping her cards close, she refuses to fold under pressure. This leads to verbal jousting between her and Charlie as her attorney mentally digests her decision to keep silent. There are some interesting aspects to Molly's backstory such as her fractured relationship with her psychologist father (An underused Kevin Costner). Her rise in the gambling world is what keeps this movie at the table and although she becomes vastly wealthy, she often rubs others the wrong way. Falling foul of high rolling celebrity Player X (Michael Cera) forces her to relocate to New York which is where her downfall begins. The problem that Sorkin faces midway is sustaining interesting and upping the already high stakes. Unfortunately, despite some unpredictable storytelling, this movie is unable to lift itself to where it needs to be.

The third act of Molly's Game is where the game beings to fold. Sorkin is keen to point out that Molly is very much a victim of having her success abused by wealthy men. What Molly Bloom achieved is nothing short of remarkable, but Sorkin seems to be unclear in what sort of reaction he wants from his audience? Because of this indecision, the wanted fireworks are never released during the film's finale. The scenes between Molly and Charlie are often enthralling but seem to lack a special something to make them memorable. Sorkin's movie desperately wants to be a classic poker movie and so far, it is definitely the best modern movie about playing cards. As much as we want it to be an award's contender it cannot bluff like a pro.

Jessica Chastain proves she is one of the Hollywood's elite talents with yet another powerhouse turn. As Molly Bloom, she is strong, smart and has plenty of moxie to boot. Showing this character as one weary from her time riding high, Chastain peals away the layers of this character to reveal who deep her conflict runs. Already an award's favourite, you can expect Chastain's name to appear constantly come Oscar time. Idris Elba, unfortunately, is stuck in a less weighty role as Charlie. Reduced to just shouting constantly, his presence does inspire some great scenes with Chastain. Sadly, this character is drastically underwritten so any potential effects are lost.

Molly's Game shows that Aaron Sorkin can walk the walk behind the lens as well as on paper. With time, our favourite writer could be something special!

Gimme Shelter: Review of The Zookeeper's Wife

The Zookeeper's Wife

Director: Niki Caro

By Alex Watson

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

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

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

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

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

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

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

This Ole House: Review of Crimson Peak

Crimson Peak

Director: Guillermo Del Toro

By Alex Watson

After some hit and miss efforts, Crimson Peak is the movie that finally makes the North American transition that Guillermo Del Toro fans have longed for. The Mexican maestro doesn't go for a conventional gothic horror tale and for some tastes this might not suit. However on design and creepiness alone, Del Toro scores big and gives his fans a very unusual Victorian romance. 

Budding American novelist Edith Cushing (Mia Wasikowska) finds herself quickly falling in love with British baronet Sir Thomas Sharpe (Tom Hiddleston). Moving to their residence Allerdale Hall, she finds his sister Lady Lucille Sharpe (Jessica Chastain) less than welcoming. Soon it becomes clear that this house has more than three residence and some ghostly spirits are issuing a warning to her. But just what is the danger that Edith faces? 

From the moment the Sharpe's enter Crimson Peak, it becomes apparent that all around them except Edith have an uneasy feeling about them. Del Toro gives us the typical set up, innocent young woman is swept off her feet by a dashing yet suspicious man and soon things go south. It isn't until we reach the dilapidated and sinking Allerdale Hall that we realize the true risk Edith faces. Sitting on top of a mountain of red clay, the stuff seeps through the floor boards like the spilled blood of the past. Throughout the spooky corridors there is a haunting and surreal atmosphere where blowing wind and creaking pipes make us squirm Lucille appears less than thrilled at the new addition and both have a hidden agenda. 

The ghosts given to us are ones that are both very unique and truly unsettling. Del Toro gives a wonderful gothic feel to events and it feels like a nod to the old Hammer horror films. Watching a mangled red skeleton ghost emerge wailing from the floor boards is just one of the jumpy moments we have in store. Never once is there a malevolent feel to these spirits and they act more as a guides than vengeful beings seeking their eternal reward. These creatures enhance our suspicions that the Sharpe's aren't in this marriage for love alone and we wonder precisely how Sir Thomas' fancy digging machine fits into everything? 

Crimson Peak's later act may descend into what is a rather campy and OTT finale, but not once does it feel ill-suited. Thanks to some marvelous production design, this old Victorian mansion captivates us each minute we spend between the walls. Stranded in the middle of a Cumberland moor, Edith has no escape and the hopelessness of this situation adds needed suspense that slowly builds like the rising red clay. 

One of the principle strengths is having a cast that is on point and Mia Wasikowska again proves she can anchor a film well. Playing against the typical helpless heroine, the Australian actress gives her character a hard resolve and a brain that is forever ticking. Tom Hiddleston gives a performance that has become second nature to him. As Sir Thomas he is impossibly charming but underneath the façade Hiddleston shows us a scarred and ultimately complex being that is wrestling with the choice he  has made. Jessica Chastain shows us a side of her we are unaccustomed to seeing. A forbidding and malicious presence, Chastain makes a room feel icy cold when she enters. There is also a sense of control that she has asserted over Sir Thomas, but how deep does it go? 

While it may not match up to his superior early offering such as Pans Labyrinth or The Devil's Backbone, Crimson Peak is undoubtedly Del Toro's best North American picture so far. More unsettling that terrifying, GDT take us into a world where love is forgotten and cries of forgotten souls lurk on the air.

Last Days of Mars: Review of The Martian

The Martian

Director: Ridley Scott

By Alex Watson

As it stands The Martian might just be Ridley Scott's most exciting and enjoyable movie of the 21st century. This tale of an astronaut defying the odds to survive on a planet not known for accommodating human is a riveting experience. After some awkward earlier efforts such as Prometheus and The Counselor, Scott shows that he definitely still one of the top directors around. The winning ingredient to this whole mix though is the cracking script by Drew Goddard which successfully meshes a wicked sense of humor a gradually increasing panic. 

Mark Watney (Matt Damon) is an astronaut stranded on Mars after being assumed dead when he disappeared during a colossal storm. Knowing that a rescue mission is years away, he must use every bit of intellect he can muster and attempt to survive. Back home NASA and its director Teddy Sanders (Jeff Daniels) face a logistical nightmare. How do you bring back a man from such a far distance without a heavy risk? While Watney begins his impossible scenario, his crew led by Melissa Lewis (Jessica Chastain) are still plagued by guilt leaving him behind. 

Almost borrowing moments from Duncan Jones' excellent film Moon, The Martian is mainly our lead character having solo conversations. Watney is a likable and mesmeric lead who even in the face of insurmountable odds is still able to crack a smile while he "sciences the shit" out of this planet. When left for dead when a deathly storm hits, instead of just giving up he miraculously discover he can survive by growing potatoes by using the body waste of his abandoned crew. Against the beautiful and enticing red dust of mars, Watney is able to capture our sympathies, fears and hopes during his diary entries. All the while mocking the disco music collection left by Lewis. 

Back on earth is where the real panic sets in and as Sanders debates with Mars Director Vincent Kapoor (Chiwetel Ejiofor) on the pros and cons are attempting a rescue. This segment is where Goddard's script really shines and despite being very technically heavy there is a fun and exciting against the clock feel. For each bit of progress, there is always a major downfall waiting round the corner (note: always do inspection tests for probe flights). Although Hermes director Mitch (Sean Bean) passionately and vehemently argues for his crew, you get the sense that NASA is more concerned about the PR risk about a failed rescue than the cost of the actual mission.  

When The Martian moves into the closing stages, it provides a adrenaline injection that has been sorely lacking in Scott's recent efforts. Figuring out the precise way to make sure that Watney is not missed by his crew members may be like having a maths and physics lesson crammed into one but it is also damn entertaining. Fatigued by years spent on Mars, we can feel the fierce desire by this man to just get home. Although we hold out hope things will ok, there is still the small factor of the lives of his crew mates? If even one minor thing goes wrong it could mean that six lives not one perish in the depths of space. 

Matt Damon has proven the perfect choice to handle this star vehicle almost unaided and he gives a masterclass in holding on. Watney unlike his other crew mates is a trained botanist and is able to use brains that no one back in Houston is able to use. Damon shows that he is worthy of a nomination come Oscar time. Jessica Chastain is also excellent in her reduced role and gives an excellent demonstration of repressed grief. Lewis is firm but fair leader but not one who believes in going by the book. Jeff Daniels shows just why he is one of the more reliable actors around with a fine turn as conflicted NASA director Teddy Sanders. 

The Martian might be a long and at times might feel like your head has taken a panel beating. For pure thrills and great story this is one of the best experiences you will have in 2015. For anyone attempting space travel in future this is a survival guide to pay attention to.

Alex's TIFF 2015 Picks

Soon the 40th annual, Toronto Film Festival will be upon us and again I am proud to be volunteering for this fine event This year I will be taking up residence at the Bell Lightbox Theatre, but I am hoping to provide as many live reviews as I can during the festival.

Here are my picks for this year's festival 

Demolition

Dir: Jean-Marc Vallee  

Chosen as the opening night film for the festival, this one for French-Canadian director, Jean-Marc Vallee already has awards potential about it. When successful investment banker Davis (Jake Gyllenhaal) loses his wife in a car crash, his world begins to fall apart. With an actor like Gyllenhaal abroad, you know this story will be a hard hitting one. Also with support from the likes of Chris Cooper and Naomi Watts- this could be a festival highlight. Closer to the Edge's Best Director of 2014, Vallee is on a fine run of form and it looks like it will continue here!

The Martain  

Dir: Ridley Scott

Ridley Scott again returns to the sci-fi genre and has brought with him one of the finest casts of 2015! Astronaut Mark Whatney (Matt Damon) is left behind and presumed dead after a disastrous mission to Mars. With limited supplies and little chance of survival, his only choice is to beam a signal back to earth. A cast also including Jessica Chastain, Kate Mara, Jeff Daniels, Chiwetel Ejiofor and surprisingly Kristen Wiig, Sir Ridley promises one of the big rides of this year.

Freeheld 

Dir: Peter Sollett

Promising to be one the festival's rollarcoaster emotional rides, this effort from director Peter Sollett looks interesting. When New Jersey police detective Laurel (Julianne Moore) is diagnosed with cancer, she and her domestic partner Stacie struggle to secure her benefits to pay her for treatment.  Featuring a pair a great pairing of Julianne Moore and Ellen Page, this is one story that is likely to capture our hearts.

Legend 

Dir: Brian Helgeland

Tom Hardy is always has a fierce presence on screen, so just imagine the effect having him play two characters at once! Based on the story on notorious London mobsters, Ronnie and Reggie Kray (Both Tom Hardy) this film recounts the terror they beset upon the criminal underworld in the 1950s and 60s. Expect things to get heated and for Tom Hardy to be likely excellent twice over. The Krays were a formidable force, expect the film to follow suit!  

Black Mass

Dir: Scott Cooper

In what could be one of the performances of 2015, Johnny Depp is infamous Boston mobster Whitey Bulger. Documenting his rise to becoming the most famous criminal in US history, director Scott Cooper has surrounded this film with a fine cast including Benedict Cumberbatch, Dakota Johnson, Joel Egerton and Kevin Bacon. Depp looks like he could be providing us with a career best turn here, expect Toronto audiences to go wild.

A History of Violence: Review of A Most Violent Year

A Most Violent Year

Director: J C Chandor

By Alex Watson

Set against the often violent and corrupt world of the oil business, J C Chandor's A Most Violent Year is an excellently paced movie. Set against the record violence of 1981 New York, the tension is forever building as what appears to be a bold move turns into something that could derail a dream completely. From here morals become more clouded and events take a turn down a darker and more vicious avenue to show that to achieve the American Dream, sometimes to take more than being honest!

Businessman Adel Morales (Oscar Isaac) is an ambitious man who owns an oil company. Along with loyal wife Anna (Jessica Chastain) they seemingly completely a risky but vital deal to secure a riverside refinery and it appears set that he is due for big things. But his competitors are less than thrilled about business being taken away and seem determined to derail this transaction and set about to oust him by any means necessary. 

Although Adel is determined to stay legitimate, from the very beginning of Chandor's picture it is made apparent he may have to fight underhanded to keep his head above water. What starts as a perfect opportunity of buying a refinery which will give him more access to cheap oil prices and more direct routes for oil imports quickly becomes a living nightmare. Soon his business is targeted from all sides. Suspicious thugs converge on their house along with the Feds, led by assistant DA Anderson (David Oyelowo). Even his long standing bank connections withdrawn on him. Truck drivers are violently robbed at gun point and Anna demands he stop standing aside and begin fighting back.

Corruption swirls in the air, not matter where you look. Adel is desperate not to resort to the gangster style lengths of Anna's 'Cheap Brooklyn Gangster' father. But there is a notion that he cannot build his own empire without a little bloodshed. A morally complex character throughout, he is a hard work who has built his world up by hard work and honest living- something he prides himself on. Essentially he is the ordinary man forced into a desperate place and is now having to fight back against his better judgement.

His relationship with Anna is the main firing point of A Most Violent Year as she is very much the immaculately styled Lady Macbeth figure of Chandor's picture. The daughter of a Gangster, Anna is not afraid to sink to lower than she needs to. One key scene sees her coldy shoot a stricken deer they have hit with their car, because it is easier that way! She is the steely presence and the real backbone to Adel's business and will go to great lengths to protect it. "You not gonna like what happens once I get involved" she breathlessly tells her husband, and we absolutely believe it!

The key firing point of this movie though comes from the excellent chemistry of Isaac and Chastain. As the everyman forced into a corner, Oscar Isaac excels as the conflicted Adel. In what is perhaps his strongest performance of his career, his character is given a resolve that sees him through even the worse situations. His guilt doesnt burden him but instead makes him more resourceful. As Anna, Jessica Chastain lights up the screen as the icy yet supportive and husky wife. Her motives and actions may be questionable, but she is the kind of wife you would kill for as she will help you stay ahead, no matter what!

J C Chandor is quickly establishing himself as one of Hollywood's most promising new directors and A Most Violent Year is a film that holds our attention firmly. The oil business is not one for the faint of heart, but this on screen couple are a pair with hearts of stone and the result is just electric! Shame Oscar missed out these two performances.

2014: A Year in Review

Another big year for film has come and gone, this year we saw 12 Years A Slave secure Oscar triumph, The Lego Movie remind us how 'Everything is Awesome' and the underwhelming effect of Godzilla returning on the big screen. We also lost two of the most loved figures in film in Philip Seymour Hoffman and Robin Williams, a void which will never truly be filled. Closer to the Edge also moved blog sites, but that is another story. 

So live and direct from Toronto, Ontario I give you my review of 2014!

Top 10 Films of 2014

1. Nightcrawler (USA Dir: Dan Gilroy):
   
   
   Dark, dense and utterly pulsating, debut director Dan Gilroy has created 2014 most original and enticing work. With a mesmerising central turn from Jake Gyllenhaal as Lou, a man drawn deeper into the underworld of freelance crime journalism, this proved to be a shocking yet awe inspiring tale. As each step takes him further across the lines of morality, our viewing takes another shocking turn. One of the dark horse contenders for the awards and rightfully my film of 2014! Read Review

2. Whiplash (USA Dir: Damien Chazelle) 
   
   
   After wowing Sundance and taking the Audience Award, the boundaries of the teacher pushed to the limit in Damien Chazelle's riveting drama. Featuring a star making turn from Miles Teller and a frightening career best from J K Simmons, this film was both heart stopping and psychologically testing for all. As Teller's Andrew strives to be one of the great jazz musicians, the prize will come at the ultimate cost. Read Review

3. Birdman (ESP Dir: Alejandro G Iñárritu)
   
   
   The return of Alejandro Gonzalez Iñárritu provided one of 2014's most off beat dark comedies. Former caped crusader, Michael Keaton proved a surprise success as a former action star Riggan Thompson, who is floundering his way to attempted stage glory. The knives of the Boardway world are fully sharpened throughout and Iñárritu ignites this fine satire piece. Keaton's half naked spirit through Time Square is laugh guaranteed. Read Review.
   
   
4. Foxcatcher (USA Dir: Bennett Miller)
   
   
   The true story of real life brother wrestlers Mark & Dave Schultz was brought to fruition by Bennett Miller in a slow burning but explosive fashion. Steve Carrell was the stand out in a career high role as their unpredictable and schizophrenic coach John Du Pont. With great support from Channing Tatum and Mark Ruffalo, the tension rises to unbearable levels. What starts as a beautiful opportunity gradually becomes a nightmare! Read Review.
   
   
5. Boyhood (USA Dir: Richard Linklater)
   
   
   Richard Linklater's 12 year project was well worth the long wait and served as the most naturalistic and most moving experience of this year. A revelatory turn from star Eller Coltrane gave the films its beating heart and we was ably supported by Ethan Hawke and Patricia Arquette. Linklater undertook a huge gamble, but the time invested has produced the most refined and seasoned movie of his career. Read Review.
6. Nymphomaniac Volume 1 & 2 (DEN/FRA/DEU/BEL Dir Lars Von Trier) 
    
   When Lars Von Trier is in town, expect things to get shocking, Nymphomaniac Vol 1 & 2 was yet another fine example of his polarizing style. With more flesh on display than you would see in a life time of European cinema, the story of sex addict Joe (Charlotte Gainsbourg) was stunning yet nauseating experience. With a bold turn from British actress Stacy Martin, Von Trier has again shown himself to be the master of awkward cinema. Read Review.
   
   
7. Miss Julie (NOR Dir: Liv Ullmann) 
   
   
   Liv Ullmann's first effort behind the camera in 15 years was a sexually charged battle of social classes as Midsummer Eve in 1890 Ireland begins to heat up. Boasting a fascinating central performance from Jessica Chastain as the aforementioned Miss Julie, Ullmann ensured that our hearts were put through the wringer. Big questions of love, desire, status and happiness were firmly asked, but this is one place where reassuring answers are a forgotten dream! Read Review.
   
   
8. Wild (USA/CAN Dir: Jean-Marc Vallée') 
   
   
   The story of Cheryl Strayed's 1100 mile trek of the Pacific Coast Trail was an enthralling tale of redemption by French/Canadian Jean-Marc Vallée'. Reese Witherspoon in a career best role superbly conveys Strayed sense of anguish through the premature loss of her mother (Laura Dern) and her fierce desire to get life back on the rails after falling off due drug addiction and divorce. This was one long walk that had a stiff yet uplifting feel that cannot be beaten. Read Review.
   
   
9. Snowpiercer (KR Dir: Bong Joon-ho) 
   
   
   Boon Jong-ho may have experienced a Harvey Weinstein style nightmare getting his arctic apocalypse drama to the screen, but it was worth the waiting. One of the more unique movies of the year, Joon-ho combines stunning visuals mixed with brutal yet ravishing violence. The gradually building animosity between classes on the big train soon reaches boiling point. When the battle begins, our eyes go wild with shock. Read Review.
   
   
10. Dallas Buyers Club (USA/CAN Dir Jean-Marc Vallée') 
    
    
    The second part of our Vallée' double bill gave us only the resurrection of Matthew McConaughey but one of 2014 most memorable characters. The exploits of AIDS patient Ron Woodroof gave us a real anti-hero who refuses to quit after his life changing diagnosis. His efforts to help people prolong life are ones that bring tears to our eyes. Ron may not be the most pleasant of men, but his heart is in the right place. Read Review.

Best of the Rest

11. The Grand Budapest Hotel 
    
    
    Through some excellent set design and memorable turn from Ralph Fiennes as concierge Gustave M, Wes Anderson brought us one of the most well designed and easy humored pieces of the year. His trademark quirk present as usual, there were also signs of a more mature and refined Anderson breaking through in future. Read Review.
    
    
12. Starred Up (UK Dir: David MacKenzie)
    
    
    Jack O'Connell's hypnotically savage Eric lit up this grim prison drama from director David MacKenzie. One of the best pieces of British cinema this year, MacKenzie succeeds in bringing forth the horrors of British prison life. Watching Eric's hysterically laughter at hurting his first victim is assured to make you squirm. Read Review.
    
    
13. Guardians of the Galaxy (USA Dir: James Gunn) 
    
    
    By far one of Marvel's most fun and original efforts of years gone by, James Gunn helped put the smiles back on fans faces with a fast paced yet hilarious ride. Armed with the best soundtrack of the year and a winning performance by Chris Pratt, the next installment already has us waiting in anticipation. Read Review.
    
    
14. The Wolf of Wall Street (USA Dir: Martin Scorsese) 
    
    
    Few would have predicted that Martin Scorsese could do funny, well his look at the drug fueled life of Wall Street Jordan Belfort proved doubters wrong. It have alienated Academy voters with its overly time and over use of drugs and sex, but with a magnificent performance from old faithful, Leonardo DiCaprio, this ranks as Marty's best 21 century effort!  Read Review.
    
    
15. Blue Ruin (USA: Dir Jeremy Saulnier)
    
    
    Jeremy Saulnier's indie effort may have flown under the radar, but his tale of revenge is an effort destined for cult status. With an impassioned turn from little known actor Macon Blair, Saulnier gave us the perfect everyman to convey his tale. A director to watch in future, this man ensured that anxiety was cranked up the max and the unexpected was forever there. Read Review.

Male Star of the Year: Matthew McConaughey 

Few people would have predicted that Matthew McConaughey would be the main man of 2014! Many have frowned his past romantic comedy efforts and considered him a lost cause. Well an Oscar win later, McConaughey was the one laughing and along with starring in this years best TV in True Detective, he would end the year anchoring Christopher Nolan's heavyweight effort, Interstellar. We are now in the presence of a man who is becoming one of the actors of his generation! Just keep him away from Kate Hudson please.

Female Star of the Year: Julianne Moore 

Through her devastatingly brilliant turns in Maps to the Stars (which won her Best Actress at Cannes) and Still Alice, Julianne Moore has shown how she is one of the most underrated talents today. One more a contender for prizes, Moore has had one of the finest years of her career and still provides an alluring presence on screen (look how she lit up Mockingjay in limited screen time). Fast becoming one of this blogs favourite girl, Julianne is the deserved winner of this category.

Director: Jean-Marc Vallée' Wild/ Dallas Buyers Club) 

Montreal native Vallée' has had his star being on the rise for years since 2005's CRAZY. This year would see his impact on the industry imprinted as he gave us the one/two punch of Wild and Dallas Buyers Club. Sporting a real eye for human emotion, his ability to highlight real people's strives makes for absorbing viewing and we should hopefully see this name on prize lists for years to come. 

Scene of the Year: Jordan Belfort Paralysed on Quaalude's 

Scorsese's ability to do comedy was never better demonstrated than when Jordan Belfort finds out the exact effect of the ancient Quaalude's he has ingested. What starts as a simple phone call quickly descends into something far more shocking and hysterical. Prepare the stitching kit, it will come in handy after seeing this. 

Finally I want to extend a massive thanks to all my readers in over 98 Countries who yearly listen to my rambling about film. Without you guys I am nothing, like Roger Ebert once said "I'll see you at the Movies!" 

Through Space & Time: Review of Interstellar

Interstellar

Director: Christopher Nolan

By Alex Watson

When a Chris Nolan films rolls around you can always guarantee one thing for sure, this will be no ordinary experience. Continually over the past decade, the British visionary has made our minds bend in more ways than one. But his plots are always a closely guarded secret and when unveiled to us we are forever left either amazed or dumbfounded by what we have witnessed! This week he tackles space exploration and a mission that may just save the human race. Prepare for all kinds of theories, calculations and inspiring visuals in Interstellar.


In the future, the earth is slowly dying due to a lack of food resources, so to save its existence former astronaut Cooper (Matthew McConaughey) along with Dr Amelia Brand (Anne Hathaway) and Boyle (Wes Bentley) are sent through the universe on a deep space mission. Through this they must navigate a worm hole that may or may not lead them to a system that can sustain the survival of the human race.

Interstellar again proves that Christopher Nolan is a director at the top of his game and this proves to be an eye opening and thought provoking look at not only what exists in the universe, but humanities instinct for survival. As we open on the dusty and deprived earth, we view humanity virtually forced down onto its knees. Cooper proves to be one of Nolan's strongest leads as we see him as a conflicted former pilot who is being forced into playing reluctant hero on a mission that may not see him return! The emotional depth of Cooper gives his early relationship with his 10 year old daughter Murph (Mackenzie Foy) gives the film a beating heart and as watch him drive away teary eyed- we pray for his safe return.

Although slow starting, midway through the film smartly shifts into overdrive and the visual presented to us are remarkable. The impressive CG by Hoyte Van Hoytema show us the great unknown which includes a planet surrounded by gigantic rolling waves, which will play a key role in the events of the mission! But perhaps the smartest element to this whole equation is that the universe is filled with unknown dangers and even the slightest error could result in several years being lost! Tough decisions allow the characters to reveal their true colours and at points battle of wills surface, often to heart stopping effect. Professor Brand's (Michael Caine) quoting of 'Do Not Go Gentle into that Good Night' by Dylan Thomas effectively sums up the human spirit and its determination.

But the centre of Interstellar is all about the relationship between father and daughter. Murph is a no ordinary child and Cooper has encouraged her all her life to think outside the box. As older Murph (Jessica Chastain) appears, her initial anger and betrayal him leaving transcends into love and desire to see her father again and this gives her brains she never knew. However it is watching Cooper's pain filled face as he watches the 20 years of un-viewed messages from his children that hit home with such a hard and raw agony.

Even though Nolan's film is a visual masterpiece, its content and ideas may prove to be too heavy going for fair weather film fans. Never one to shy away from smart film making, Christopher and Jonathan Nolan give us a script that is so packed full of physics and morality that it feels as if we are being given a lecture rather than cinematic piece. The final act will firmly divide viewers as we cross through the dimensions of space, black holes to arriving into a destination that will surprise along with frustrating many. But unlike his other pieces, this proves to be Nolan's most heart pouring and genuine pieces.

Matthew McConaughey is an excellent lead choice and after his brillance in Dallas Buyers Club, he shows that he anchored a blockbuster well. Demonstrating a great human touch to his character, Cooper goes down as one of the more emotionally real characters of 2014 and is played with such potent power that he appeals to us from a very early stage. Anne Hathaway is also impressive as the smart yet soulful Dr Brand. But it is Jessica Chastain who firmly claims the supporting ranks with a brief yet impressive turn as the older Murph that captures our hearts.

Interstellar is an impressive and bold blockbuster, but the weight of its own intellect makes the film crumble slightly and we are left afterwards with our minds still traveling at light speed! But it is no less impressive and on a visual scale this is unlikely to be beaten in 2014. Christopher Nolan is a director who will always be challenging his audience, best to start reading for our next encounter!

Three Movie Picks for November

Interstellar (Director Christopher Nolan) 

Chris Nolan's long awaited return to the screen post Dark Knight Rises has been one of great speculation throughout 2014 and through a series of cleverly planned trailers, we have only glimpses of a plot. Starring Matthew McConaughey, Anne Hathaway and Jessica Chastain, we have learned that the story concerns an environmentally destroyed earth and a group astronauts having to navigate a worm hole in space to save it from total destruction. Nolan has yet to put a foot wrong and this looks likely to continue his fine run of form.

Release Date: November 7

Foxcatcher (Director: Bennett Miller) 

After grabbing serious attention at the Cannes Film Festival this year, Moneyball director Bennett Miller returns with a movie that has some serious awards contention. Based on the tragic story of Olympic wrestler Mark Schultz (Channing Tatum) and his notorious relationship with his paranoid coach John Du Pont (Steve Carrell), this movie has proved to be an intense and captivating ride for critics. Featuring possible career best turns by Carrell and Tatum, this could well start making an appearance on award lists soon.

Release Date: November 14

The Hunger Games: Mockingjay Part One (Director Francis Lawrence)

Katniss Everdeen (Jennifer Lawrence) is back on screen Hunger Games fans and she is aiming to make folks in the capital Panem sweat after the events of Catching Fire! So far this franchise has proven to be one of the most exciting and well made of years gone by and has found admirers in both teen and adult markets! Although some may be annoyed that the final story is split over two parts, no one can deny that watching Katniss and her band of followers slowly breaking down walls will be electric to watch!

Release Date: November 21

A Dangerous Woman: Review of Miss Julie

TIFF EXCLUSIVE 

Miss Julie

Director: Liv Ullmann

By Alex Watson

Liv Ullmann is a true icon of both Swedish and World Cinema in so many ways. As an actress, the Norweigan was the centerpiece of a great number of Ingmar Bergman's masterpieces such as Persona, Autumn Sonata and Cries and Whispers. She had a presence that was unmistakable and she proven to be an influence to many actress after. She has also turned her talents behind the screen by directing Sofie, Private Confessions and Faithless. For the last 15 years though, Ullmann has been absent from our screens, but this year she returns behind the camera adapting August Strindberg's play, Miss Julie. Today I was fortunate enough to attend the TIFF premiere at the Winter Garden Theatre, complete with introduction by Ullmann herself!

Set in Fermanagh, Ireland in 1890, midsummer's eve is upon the region and all are out celebrating. That is all except the troubled and mysterious Miss Julie (Jessica Chastain), the daughter of an Anglo- Irish baron who has chosen to stay behind with only the valet Jean (Colin Farrell) and the cook Christine (Samatha Morton). As the night approaches, Miss Julie attempts to seduce Jean, leading them down a dangerous path and differences classes will come into play.

Ullmann's return to the screen is by far one of the most glorious and affecting of 2014 and Miss Julie is a work of immense power. Changing the setting from Sweden to Ireland, from the very outset, there is a gloomy shadow cast upon the house where the Baron's power unquestionable. Miss Julie is a person who people continuously wonder about and her recent erratic behaviour is starting to trouble people. Jean however, has no interest at first but as the night unfolds lives are gradually changed forever.

There is a highly charged sexuality to the feel of this movie and through Ullmann's skillful direction, the smallest gestures such as Julie silkily requesting Jean kiss her hand makes gigantic waves. Set largely amongst the mansion kitchen and bedrooms, lust and unrequited desire fill each room to unbearable levels. Jean and Julie are two people feeling trapped in life and this feeling of desperation adds a fantastic simmering tension as the pair are both fighting playing their cards right. But this also leads to trickery on both sides as each uses their sexuality as a weapon for different means and often to devastating effects. 

Class position plays a important role and this causes friction throughout Miss Julie. Our heroine is sneered upon by the other servants for being a snobby rich girl. But in one brilliant monologue, we learn that power is not what she desires and she in fact the cruel creation of the differing emotions of her parents and truly, doesn't not know love or happiness. Miss Julie comes across as a caged animal inside a large, empty house who is slowly succumbing to madness. Jean is the definition of the working man and all his life he has looked upon Julie's life with a sense of wonder and scorn and although drawn to his mistresses advances he also feels insulted by them.

Jessica Chastain once again proves that she is one the finest actress around today with an eclectic performance as the forementioned Miss Julie. Her presence on the screen is one of ethereal beauty and sheer fragility and she succeeds in wonderfully bringing to life what is a high complex role. Chastain steals our hearts throughly, particularly during the closing act when Miss Julie is literally brought to her knees in panic and anguish. Expect to see this name again come awards season!

Colin Farrell proves to be a just sparing partner for Miss Chastain and his performance could well be in contention for the big prizes as well. Jean is tricky fox to predict and oozes sexual prowess from every corner. But it is his inner conflict with himself that makes Farrell so memorable as he brings to light Jeans urgency to attain a better life, but fearing stepping outside the servants world because there is nothing else he knows! One of the more underrated big name actors, Farrell hits pay dirt with this part and deserves a large reward.

It may have taken 15 years for her return, but Liv Ullmann's adaptation of Miss Julie is not only destined to be one of TIFF's finest films, but of 2014 as well! This is one piece of work that is incredibly touching but also unbearably heart breaking, it may just be one of the finest bits of work of Ullmann's career! As a man who is practicing to learn Swedish, may I end by saying, Välkommen tillbaka Fröken Ullmann , är det bra att se er igen !