Red State: Review of Red Sparrow

Red Sparrow

Director: Francis Lawrence

By Alex Watson

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

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

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

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

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

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

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

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.

A Woman Under The Influence: Review of Far From The Madding Crowd

Far From The Madding Crowd

Director: Thomas Vinterberg

By Alex Watson

Danish director Thomas Vinterberg makes a good stab at adapting Thomas Hardy's, Far From The Madding Crowd. For the most part it is a heart wrenching and involving movie and in some ways even surpasses John Schlesinger's 1967 version. After his emotionally churning film, The Hunt, Vinterberg has been the ideal man to bring a new version to screen. Effortlessly he brings to light the clash between classes and the pain that the smallest actions can cause.

Bathsheba Everdeen (Carey Mulligan) is a headstrong young woman who has recently inherited her uncle's estate. Diving headfirst into the farming world, she soon finds herself tempted by three different suitors. Quiet farmer Gabriel Oak (Matthias Schoenaerts), rich loner William Boldwood (Michael Sheen) and dashing soldier Sergeant Frank Troy (Tom Sturridge). But although she yearns not become a man's wife, Bathsheba is seduced by passion and tradition. Both of which will eventually have a dangerous outcome of all.

The most effective piece of Vinterberg's Far From The Madding Crowd, is how he firmly portrays how Bathsheba ably dances into a man's world, but comes unstuck as a result. The three men in her life are the definition of class difference. She falls hard and fast for handsome but dangerous Troy and secretly scolds herself for it. A valentine's prank on the lonely and repressed Boldwood sets off a risky spark and she feels genuine remorse for hurting a good man. Even her first meeting with Sheppard Gabriel is one that will set off a complex relationship of love and dependence. Bathsheba renounces marriage claiming "I'd hate to be someone's property" but although independent she also feels the need for a male presence.

Inner conflicts between the characters are also excellently conveyed. Although Gabriel is the quiet yet wise soul who lovingly observes Bathsheba from a distance, he is perhaps the only one who can see through the other suitors facades. Troy while impressive on the outside is also a self-destructive and lovesick man who still pines for lost love Fanny Robbin (Juno Temple). But it is easy to see how Bathsheba is instantly illured by his sex appeal and yes the famous sword wielding scene is equally tantalizing as before. Boldwood while rich and openly speculated about is also a man secretly drowning in his own loneliness and insecurity. Courting Bathsheba seems to be his view of way of solving life's problems.

But even in the year since its first publication, Bathsheba is still a heroine who is not only likeable but also is willing learn from her transgressions. While a capable farmer and businesswoman, she is also naive to the ways of love and relationships. She also gives the movie a strength to move forward convincingly and to some movie goers, this might give Vinterberg's movie a light feeling, but not once does it weight it down.

Carey Mulligan proves to be an excellent Bathsheba and demonstrates a winning charm. Her real strength is that she gives this character an intelligence that marks out from Julie Christie's original iconic turn. As the world weary Gabriel, Matthias Schoenaerts also excels and rings in a turn that both heartfelt and firmly captures the silent longing that surrounds Hardy's novel. Tom Sturridge does give Troy a slightly more humane feel, but he still falls short of the cold hearted and sexual charged turn that Terence Stamp made so memorable! Michael Sheen feels underused as Boldwood, but shows enough to give a good impression of a man on the verge with himself.

As adaptations go, Vinterberg's version of Far From The Madding Crowd is one that has surprised everyone. It might not feel as iconic as the John Schlesinger version, but it does rise about it emotionally and delivers a stirring and engaging tale. Will also come in handy as Farming 101 guide for those wanted to relocate to Dorset any time soon!

3 March Movie Picks

Chappie

District 9 maestro Neill Blomkamp returns with another compelling piece which looks to not only continue his great visual eye, but could well capture out hearts! Chappie (voiced by Sharlto Copley) is a robot designed by Deon Wilson (Dev Patel) and is designed to evolve and feel human emotions. But not everyone is thrilled by this concept, including Vincent (Hugh Jackman) and soon Chappie is fighting back against the forces that want to see him destroyed! Knowing Blomkamp this will be another experience to remember!

Release Date: March 6th

The Gunman 

Sean Penn is a man with a grudge this month in Pierre Morel's movie and from the action on display, this could mean lethal results! Martin Terrier (Penn) is an renowned operative who wants nothing more than to quit the game and settle down with his lover. But his organization appears to have other ideas and force him to go on the run! With a supporting cast including Javier Bardem, Idris Elba and Ray Winstone, the quality in this movie is high! Penn isn't known for this sort of role and love or hate the man, he sure has that presence.

Release Date: March 20th 

A Little Chaos

Alan Rickman makes a rare venture behind the camera for his French Renaissance drama piece. Set during the time of King Louis XIV (Alan Rickman), lady gardener Sabine (Kate Winslet) is hired to design a fountain for his majesty. But finds herself roughing feathers when she catches the eye of married socialite Andre La Note (Matthias Schoenaerts) to which society takes an all too close eye to! After wowing audiences at TIFF 2014, it appears this movie has hyped to be believed.

Release Date: March 27th