Game Over Man: Review of Alien: Covenant

Alien: Covenant

Director: Ridley Scott

By Alex Watson

Ridley Scott's third outing in the Alien universe gets the franchise back on the right lines. Alien: Covenant isn't a perfect blockbuster by any means, but has a far stronger story and greater thrills than the ill-fated Prometheus. While the script by John Ridley does have the odd fault in logic, it's great to see Sir Ridley finally returning this franchise towards its roots again.

Travelling to start a new colony on planet Origae-6, the crew of the USCSS Covenant receives what looks to be a distress signal from another planet. Officer Daniels Branson (Katherine Waterston) is against investigating and insists the mission go on. However, Captain Oram (Billy Crudup) is overly curious about what lies there and the crew isn't keen on going back into hypersleep. When the crew reach the earth-like planet, they meet David (Michael Fassbender), the survivor of Prometheus and immediately his intentions come into question.

Alien: Covenant is given a big opening shake up. Hit by a freak neutrino blast from deep space, android Walter (also Fassbender) is forced to wake the crew early. Demoralised by a death of a beloved crew member, Oram is forced into the Lt. Gorman role and his unpopular decision making is quickly what dooms everyone. What it means to be human is another major subplot touched upon. Opening before the events of Prometheus, David is shown being given a lecture by a young Peter Weyland (Guy Pearce) about gods and creation. While playing an 'anaemic' piano rendition of Wagner's 'Entry of the Gods into Valhalla' the creation points out to tell his wannabe god maker "You will die, I will not!" David is the lynchpin throughout Scott's movie, so memorable before and the real lurking threat here. His appearance at first feels like divine intervention, but after we start viewing his 'amateur zoology' our views becomes very skewed.

When the crew the land on the mysterious planet, it seems almost too good to be true. Although it seems habitable, Daniels is quick to notice there are no birds or animals. Soon things get dark and intense and Scott thankfully gives us the return of some many of our beloved creatures such a face huggers and of course, the Xenomorphs! The creatures in this picture play second fiddle to the jump scares and when crew members start having weird objects bursting out their chests- the body count starts to rack up. Although the frequent kills do offer some genuinely creepy moments, there is a lot of other mumbo jumbo that gets in the way. The side plot of David weeding his influence over fellow droid Walter does make for some fine acting moment's- especially his recital of the poem 'Ozymandias' and their flute playing lessons together. The unnecessary diversion into how their kind was not meant to serve and the dreams that affect them only pushes the film away from where it needs to be.

Another issue is the crew themselves, Daniels while affected and suffering from her loss is not a strong enough character for the film to rely on. Likewise with the blundering Oram who seems to continuously worry that is faith will affect his ability to lead this crew. This issue was also present in Prometheus and this crew just feels like a group that is a buffet meal for the aliens. When Scott plays the hits, the plays them well. One claustrophobic sequence sees crew member Karine (Carmen Ejogo) quarantined while a mysterious creature begins to splatter out of her deceased crewmate! While there some good individual moments, it can't beat feeling formulaic. Scott feels like he is desperately trying to recapture the magic of his 1979 classic. Alien: Covenant is a solid entry into this franchise, but not one its fans will fully embrace- despite Mother finally being back!

Katherine Waterston gives it her all as Daniels but she just isn't the strong female character this movie desires. Taking up the torch from Sigourney Weaver is a tough ask- Noomi Rapace also gave unstuck previously. The problem is her character just feels like a blank page and John Ridley didn't seem too bothered about filling it. Out of the all supporting character only Danny McBride's pilot, Tennessee has any kind of likeability. After playing so many memorable jerks in shows like Eastbound and Down and Vice Principals, McBride seems at ease in the role of supporting hero. Once more Michael Fassbender steals the show, only this time he steals it twice. Both Walter and David are Ying and Yang on the persona front. David comes across as the gift that went spectacularly wrong. Through Fassbender, the movie's true villain is born.

Alien: Covenant does give us some joy seeing some of the touches we know and love. Ridley Scott just cannot fully seal the deal.

Reign Over Me: Review of X-Men Apocalypse

X-Men: Apocalypse

Director: Bryan Singer

By Alex Watson

Sadly X-Men: Apocalypse marks a low point for Bryan Singers tenure in this Marvel Franchise. Everything we know and love is there is this feature, but too many adjustments and new character injections are what drags this piece down. It is also not helped by its confusing script and flat storytelling. Changing the character arcs and timelines has been in place since First Class rolled onto screens, but here it is just unbearable.

Rising from his tomb underneath the pyramids after many millenniums, Egyptian God En Sabur Nur/Apocalypse (Oscar Isaac) plots to drag humanity down to its depths and rebuild a better world. In 1983 society, Charles Xavier (James McAvoy) is attempting to establish a school and has come across a talented by trouble protege Jean Grey (Sophie Turner). Meanwhile, Magneto (Michael Fassbender) has tried to live a normal life until tragedy strikes. When Apocalypse threats to ruin earth, each X-Men has his own conflict.

We all want to love X-Men: Apocalypse, but its moral compass just seems to be skewed. Magneto once again is toying with the idea of being both good and evil. Living in Poland he has settled down with a wife and child before (SHOCK HORROR!) tragedy strikes. Xavier still believes there is good in the man, despite he has routinely betrayed him and committed numerous murders. Mystique (Jennifer Lawrence) is also beginning to sink and in this one, she made out to be too much of a do-gooder. Her rousing speeches don't feel genuine and the moral ambiguousness that worked so well has vanished. The new recruits Cyclops (Tye Sheridan) and Nightcrawler (Kodi Smit-McPhee) makes the strongest impression and give us a key reminder of why we loved these characters before. The pain of youth and curse of their powers go give this picture a much needed emotional relevance.

Things start so well when we see Nightcrawler forced to fight the underwhelming Angel (Ben Hardy) in a rage in the cage match. This is as many thrills as the first hour will provide as Singer then insists of bouncing his audience from story to story to set us up for later. Sadly from this point the story becomes muddled and many of the ideas Singer probably wished to include get stranded. Quicksilver (Evan Peters) who was so effective in Days of Future Past is unable to replicate his form here and also due a questionable plot change it leaves us scratching our head. Jean Turner comes across a promising reboot, but here rather frosty character is hard to warm too. Though her inability to control what is a vastly powerful mind does earn a few extra points

The biggest sin of X-Men Apocalypse comes from its flat and unthreatening villain. All of us growing watching or reading the X-Men cartoons loved Apocalypse as the big bad of the franchise. In this universe is a boring and forgettable presence. Showing his backstory provides us with precious little as we see him transported into the body of a young man. After his transformation, he looks more like a replication of Ivan Ooze from Power Rangers than a God with unlimited powers. The whole picture seems to him going around and absorbing other people's powers. His intentions and his hatred for the modern day are never made explicitly clear but we know he wishes to punish them. How he convinces lonely and unbalanced mutants to join his cause doesn't raise any thrills and despite Oscar Isaac's best efforts, this just feels like a huge letdown.

Even the X-Men performances don't grip us like they should do, Michael Fassbender is beginning to struggle with the eternal good and evil conflict of Magneto. Singer should just choose the direction and let Fassbender do this thing because when he does, he is magnificent at it. James McAvoy, as usual, is great (if underused) as the professor but Jennifer Lawrence's complete redirection as Mystique doesn't feel right. She is settling more into physical aspects of this role, but making her a hero is step back. Kodi Smit-McPhee and Tye Sheridan are marked out well as the new blood of the franchise. SMP in particular is able to project the confusion and vulnerability that makes Nightcrawler so great. Also, he rocks his Michael Jackson Thriller jacket!

On the whole X-Men: Apocalypse is just another big budget blockbuster gone south in what has been a bad year for superhero films. Back to the drawing board boys because the old ideas are becoming stale.

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

The Scottish Play: Review of Macbeth

Macbeth

Director: Justin Kurzel

By Alex Watson

Justin Kurzel's adaptation of Macbeth is one that belongs among the very elite versions of Shakespeare's work! Boasting a hypnotic and savage beauty throughout, Kurzel bewitches his audience from the very first frame. After his absorbing debut, Snowtown Kurzel promised us great things. His own version of Macbeth is the most emotionally wrought among many but he also expertly mixes in the disturbing aura of evil that surrounds events. Shakespeare has never looked so tragically beautiful.

After winning a key battle against an uprising of King Duncan (David Thewlis), Macbeth (Michael Fassbender) is given a prophecy by three witches. In this, they tell him that he shall soon be made King of Scotland. Obsessed with ascending to the top, the brave warrior soon descends into murder and treachery. All the while aided by his scheming wife, Lady Macbeth (Marion Cotillard).

Many noteworthy directors have taken a stab at Macbeth including Polanski and Kurosawa. In contrast, their adaptations didn't come close to capturing the harsh and brutal feel that this work brings. Opening on a stunning and arresting opening battle sequence, Kurzel grabs our attention immediately. Beautifully shot by Adam Arkapaw, his photography gives a disturbing ambiance to medieval Scotland. Surrounded by blood red skies, swirling mists and battlefield still sizzling with the souls of the dead, Arkapaw brings forward a deadly malice. Kurzel along with screenwriting duo Jacob Koskoff, Michael Leslie, and Todd Louiso breathe new life in this heavily adapted drama.

Deviating from the page, this is possibly the first adaptation that attempts to humanize the behaviors of the Macbeth's. The pair is consumed by grief over the death of their child, in the opening scene we see a funeral pyre on the moors. Macbeth's bid for power is nothing more than an attempt to crush the despair and fill the empty space. He lusts over control of his destiny and in doing so he loses sight of morality and consequences. Murdering Duncan gains him the ultimate prize, but in doing so it sets him along a dangerous path. Kurzel shows a deft touch when charting the new King's heightened suspicions and eventual madness. He resists going full blown, but the results are nonetheless shocking. Watching him murder the wife and children of MacDuff (Sean Harris) is a chilling sight where the point of no return in reach.

Kurzel and Arkapaw's work on Macbeth comes alive during sintalating third act where Birnam Wood comes to Dunsinane. Watching a battle during the tangerine glow of a firestorm is cinematic ambrosia. All the pent up rage, revenge and desire explode into one as Macbeth and MacDuff go one on one. This sequences proves that sometimes deviating from text can be pleasant surprise and it is these little changes that makes the biggest waves. Kurzel shows how a talent he trulys is and thanks to some inspired casting his version of this tale of evil and murder is possibly the strongest yet. The one thing that is not in doubt is that keeping this story medieval ensures that the twisted feel is not lost. Shakespeare himself would liked this piece.

Michael Fassbender once more shows his creditibility as is perfect casting as Macbeth. Easily convincing as the leader of men and having an uncanny knack to entrance his audience, Fassbender has been one of the stars of 2015. Giving a realistic portrayal of a man wrestling with his soul, this man captures the very soul of the production. Marion Cotillard matches Fassbender, but skillfully she underplays the potential madness of her character. Showing Lady Macbeth as a woman consumed by loss she paves a new emotional for the character.

Justin Kurzel's Macbeth deserves its place alongside the great adaptations of Shakespeare. Never before have seen a stories spirit so well contained and anyone who follows will have a hard task.

The Innovator: Review of Steve Jobs

Steve Jobs

Director: Danny Boyle

By Alex Watson

Although it lacks the needed back story about the rise of one of this centuries greatest innovators, Steve Jobs is still a fine picture by Danny Boyle. Aided by a typical talkative Aaron Sorkin script, events play out like more of a three act play than a cinematic piece. Jobs is not made out as likable by any means but his dedication and ambition to his craft is always admirable. His relationship with those around him however, gives his life a more strained feel.

Examining three very significant events in the life of Steve Jobs (Michael Fassbender) such as the release of the ill-fated first Apple Macintosh which would lead to his dismissal. Through these moments we witness the fiery determination and the towering ego which although brought him worldwide admiration, also alienated him from those closest to him. 

Steve Jobs gives us a breathless opening inning where the clock counts down to the first launch of the Apple Mac in 1984. Jobs is fiercely determined to make his beloved machine speak 'Hello' to its audience. On display in this sequence is a complex array of emotions as Jobs berates, charms and threatens his 'Work Wife' Joanna Hoffman (A terrific Kate Winslet) and engineer Andy Hertzfeld (Michael Stuhlbarg). In this sequence we also gain a window into his human side and more importantly, his stubbornness. Jobs refuses to accept that his daughter Lisa is his child even though it has been proven. Her mother Chrisann (Katherine Waterston) cannot fathom the reason for this rejection and Jobs clings to the same algorithm that 28% of population could be the father. 

Danny Boyle doesn't set out to make Jobs any kind of Martyr figure and in truth he is both hero and villain combined. Despite warnings from Joanna such as “If you keep on alienating people for no reason, there will be no one left to say ‘Hello!’Jobs' ego makes him pay the greatest price. After he irreparably strains his relationship with Apple co-founder Steve Wozniak (Seth Rogan) and CEO John Sculley (Jeff Daniels) due the failure of the Mac and his refusal to acknowledge the success of the Apple II- he is inevitably forced out. Rather painting this as a revenge or redemption piece, Boyle instead focus on the man himself. Through this he lifts the lid and reveals the self-doubt that Jobs feels within himself, perhaps brought on by his adoption as a child. 

For all its merits, it does feel disappointing that Steve Jobs only focuses on the early years and not the breakthrough products such as the iPad. We are only briefly given windows into the early life of Jobs which although provided momentary glimpses of a far different man is not nearly enough. Boyle focuses on the technical innovation that made this man an almost god like figure to the people who brought products. Jobs believed that computers should almost be as a friendly as people themselves and his perfectionism that angered colleagues was because he believed something . There are subtle hints towards the future products that would cement the Apple name, such as his preference for all rectangle corners be rounded. In the end, Boyle does a great job of making a difficult persona into something fascinating. 

As the man himself, Michael Fassbender proves the perfect jobs as the Apple impresario. Effectively channeling his insecurities with himself along with his sophistry, Fassbender holds the movies centre with such force that eclipses all others. By far one of the best leading men this year, this could be movie another Oscar nod coming right up. Kate Winslet refuses to get upstaged by Fassbender and rings in her own fine turn as the dry humoured Hoffman. In a dowdy and more low key performance, Katherine Waterston wins the most sympathy as Chrisann Brennan, a woman struggling to raise the very daughter that Jobs frequently rejects. 

Steve Jobs might not be a movie for everyone to appreciate, but the sheer power of its central performance lights up the picture. David Fincher may have rejected the chance to bring Jobs to the screen, but Danny Boyle has proven to the perfect man to do so.

Movie Plot Concepts Better Than Finished Film

In Time 

Andrew Niccol's futuristic thriller could have been a great re-doing of Logan's Run had it played its cards right. The concept that in years beyond that time literally is money was one that kept the story moving. But the whole idea that one ages past 25 was a little difficult to swallow, could you believe Olivia Wilde was Justin Timberlake's mum? The main catalyst was the flawed transition for a story of survival to being almost a crime thriller. After an engaging first act we were left with a deflated after effect. It was a shame because on the original idea alone, Niccol could have had a winning horse.

Equilibrium

Setting a story in a world (no Don LaFontaine pun intended) where a totalitarian governments rules supreme and humanity is forced to pacify all emotion was an intriguing one. The game changer here was the unfortunate wayward direction from Kurt Wimmer. Its introduction of the fictional karate/gun shooting style 'Gun Kata' made for thrilling and off beat viewing. These sole moments breathed life into what a movie on life support throughout. Tragically what started as a wonderful and thought provoking concept descended into a mindless action movie. Still it makes an interesting double bill alongside The Matrix though.

Hancock

What could have been one of the more memorable superhero comedies was somewhat hashed by director Peter Berg.  Will Smith gave us a few laughs as drunken hero, Hancock but its confusion over its formula style led to mixed result. Berg seemed to be on the fence about whether this was a comedy or a drama? This indecision meant that many laughs were lost in a haze and its never quite got to grips with itself. Originally intended to be stretched over two installments, the decision was made instead to mash it together in one movie. The great late movie twist is revealed too early and lost any effective touch it could have brought.

Prometheus 

The principle issue with this movie's build up was that it was expected by many Alien fans to be another series installment. When it was revealed as a whole new concept, this led to cries of despair. Despite have a potentially great build up to finding out about the Xenomorph's origins, a poor script and some blurred lines of story let the side down. Ridley Scott attempted his best to bring a positive spin on what is a visual effects masterclass. But no amount of sparkle and a fine Michael Fassbender android turn could mask the fans disbelief.

The Men Who Stare At Goats 

When the trailer for Grant Heslov's comedy first debuted, it looked a sure fire hit. His idea of a journalist (Ewan McGregor) following a former psychic spy (George Clooney) and learning the secrets of his life less ordinary seemed a ready-made idea. Disappointingly what followed was a rather drab and flat finished product that failed to live up to the hype. Heslov's movie has some great individual moments and a stunning supporting cast. Despite this it failed to cross over into the critically acclaimed section.

Once Upon a Time in the West: Review of Slow West

Slow West

Director: John Maclean

By Alex Watson

Fans of the western genre will no doubt be delighted with director John MacLean's Slow West. Making fine use of the breathtaking scenery, his American Frontier adventure is one that uses both unexpected surprises and wonderful natural humour. The feel of MacLean's movie is not fast moving, but events never once drag. The Scottish former musician turned director now emerges as a future talent who a keen eye for visual flair.

In 1800's Colorado, young man Jay Cavendish (Kodi Smit-McPhee) has abandoned his life in Scotland to come across to America. Here he is searching for his lost love Rose (Caren Pistorius), whom had to abandon him due a set of unfortunate circumstances. But one particular day, outlaw Silas Selleck (Michael Fassbender) arrives to save Jay from bandits. He agrees to be his guide and to aid him in his quest to find Rose. What Jay doesn't know however, is that there is a bounty on his love and Silas is one of many looking to claim it!

What sets Slow West apart from a typical western affair is that Maclean surrounds things with a slightly surreal feel. Jay is a young man literally walking into a world of danger "A jackrabbit in a land of wolves" as Silas' voice-over denotes. His love for Rose in some ways has made him naive and blind to the risks that he faces. When Silas arrives to save him from being shot by a bandit, his reasons for helping appear dubious. But all throughout Maclean's picture, Silas both deceives and shields him from a bitter a truth.

Along the trail, the story line alternates between the real and the slightly strange. One scene sees Jay conversing in French with three Congolese singers. But as the journey deepens, Jay begins to learn some cold hard facts. Strangers are among the dangers that lurk, such as a German anthropologist who speaks truths such as “in a short time this will be a long time ago” then promptly abandons Jay! The story is also fueled by the flashbacks of the past of his time in Scotland. The young man's unfortunate choice to follow his heart has landed him in a world of trouble and as Silas warns, Rose's heart may not exactly be his.

The third act forgoes the drawn out feel and descends into an epic shootout finale. The presence of trouble making gang leader Payne (Ben Mendelsohn) has been felt throughout. But now him and his band of outlaws are one of many descending upon Rose's family. Asides from the multiple bullets flying, both Silas and Jay face tough decisions. What comes next is an affecting but genuine ending which demonstrates just how hard the human heart can be touched. Also it is note worth for a magnificent reverse sequence by Maclean that will stay with viewers for long after the credits.

Michael Fassbender once more demonstrates his versatility with a fine turn as Silas. Although Maclean's characterization does dip below surface level, Silas is still an engrossing figure. Fassbender smartly plays him as man corrupted by time, but still has a conscience glimmering somewhere beneath. Kodi Smit-McPhee is equally excellent as the love struck Jay and gives a heartfelt yet hardened turn. One of the emerging talents of cinema, it will be fascinating how he brings Nightcrawler to life in X-Men: Apocalypse.

John Maclean is a director worth keeping eyes out for and Slow West emerges as a solid entry in the Western genre. On the strength of two leads alone, this is one picture that is well worth your time.

Nine Movie Scores You Should Listen To

Movie scores are the great unsung heroes of the cinematic world, they can be used to control pace and build tension as well as emphasise dramatic moments to goosebump levels. Some are understated while some motifs are the most memorable part of the whole package. Everyone knows John Williams' scores from Star Wars or Alan Silvestri's melodies from Back to the Future but here's a few more that are definitely worth a listen to.

Star Trek/Star Trek Into Darkness - Michael Giacchino - 2009/2013

J.J. Abrams' new Star Trek movies are big, shiny, explosive and a lot of fun and there's probably nobody better to score all of that than Michael Giacchino. His scores strike the perfect balance between drama and comedy. He's like Hans Zimmer but with more urgency and humour. His song titles are testament to that. Somehow Giacchino is capable of producing stunning scores but maintaining that tongue in cheek element. His score for Mission Impossible: Ghost Protocol is also worth a listen, but he really hits it out of the park with his Star Trek scores. Get it here.

The Lone Ranger - Hans Zimmer - 2013

I could talk all day about how The Lone Ranger could have been a great film, but wasn't. But of the few things it did well, Hans Zimmer's score is outstanding. It's difficult to score a western, but Zimmer is able to maintain the balance of big strings and simply melodies when required. While it has a Pirates of the Caribbean feel in places, it's also much darker. Ironically, for a film ruined by (among other things) its stupid action sequences, the stand-out track on the album is Finale, which accompanies the final train fight. The track incorporates the best parts of Zimmer's score with Rossini's William Tell Overture and it's a stormer. Hats off to the orchestra that performed the track.

X-Men: First Class - Henry Jackman - 2011

In these days of CGI, it's not often a movie scene gives me goosebumps, X-Men: First Class had one of those moments, if you've seen the film (or the trailer), you'll know that there's a scene in which Michael Fassbender's character Magneto lifts a submarine clean out of the water. Aside from looking spectacular, the scene is enhanced brilliantly by Jackman's track 'Sub Lift'. Stunning stuff, even on repeated viewings. One thing that Jackman does well is discard the joviality that can come with comic-book movies. First Class contains a nice mix of drama and tension and is worth a listen.

Pacific Rim - Ramin Djawadi - 2013

While I accept that Pacific Rim may have its flaws, I still love it. There's something about robots punching aliens that's just fun. Ramin Djawadi new this when he scored the film, the main motifs are brash but memorable, the combination of brass and strings works very well to balance the sci-fi and military themes. It's also slightly old-school. Different characters have their own defined motifs, and Djawadi also brings in an Eastern feel when required. For the balls-to-the-wall awesomeness, Tom Morello of Rage Against the Machine and Audioslave brings the guitar for a couple of tracks. Ignore the RZA obligatory tie-in track. It's beyond awful.

Guardians of the Galaxy - Tyler Bates - 2014

Yes, the songs included in the movie were awesome (and you can buy Quill's Awesome Mix) but don't for a moment let that take away from Tyler Bates' original score. The score was always going to take a back seat to the other songs, but that doesn't make it any less good. Powerful, haunting, tense, fun and beautiful. This score ticks all the boxes. From the energetic and bouncy The Kyln Escape to the emotional Groot Cocoon. The score is punchy, dark, atmospheric and proud and deserves the same recognition as the rest of the music in the film.

Alex's Picks

Blade Runner- Vangelis- 1982 

Over 32 years since its release, Greek composer Vangelis' dark electronic score for Ridley Scott's Sci-Fi masterpiece is still magnificent. From its synthesized opening track, it helps create a wonderful and haunting feel and its helps bring to life Scott's noir and futuristic world. But more than that, it successful captures and in some cases, elevates the movie's emotional content, allowing the movie's heart to shine through. It's most beautiful moment however, has to be during Roy Batty's (Rutger Hauer) now infamous "Tears in the Rain" speech and mixed together it brings about possible the most poetic moment of Scott's career. Still highly recommended!

Drive- Cliff Martinez 

The ambient and electro-pop score for Nicholas Winding-Refn's critically acclaimed 2011 movie has been one of the more memorable in years gone by. 'Nightcall' by French group Kavinsky succeeds in giving the movie the retro feel that needs and Martinez gives us a soundtrack that has an blood pumping but abstruse feel which ultimately allows the viewer to see the Driver's (Ryan Gosling) world through his own eyes. But the real success of the movie comes from its closing theme 'A Real Hero' by College which effortlessly mirrors the Driver's transformation through Refn's movie.

Friday Night Lights- Explosions in the Sky

Peter Berg's tale of the Permian Panthers football team would not have been such a memorable journey without Explosion's in the Sky's highly emotional post- rock score. Regular contributors to Berg's films, the  group have always been able to give us a sound that tugs at our hearts. As natives of West Texas, they were able to secure the movie's hopeful yet crushing feel that they knew so well from growing up. The prominent example of it's feel has to be the movies ending theme 'Your Hand in Mine' which expertly marks the players transition from boys into men and underlays the uncertain future that might lay ahead. I personally am big fan of this group and if I were to pick one group to soundtrack my life, they would get the call!

There Will Be Blood- Jonny Greenwood

Radiohead's Jonny Greenwood appeared at first to be an odd choice for P.T Anderson to score his 2007 ethereal gem. But his largely orchestral score encapsulates the movie's portrayal of man with a twisted moral compass! Over the lengthly course of Anderson's movie, Greenwood's soundtrack becomes the movie's real voice and perfectly sums up the inner conflict that Daniel Plainview (Daniel Day-Lewis) may feel underneath his hardened exterior. Cruelly denied consideration for an Oscar due 'technicalities', Greenwood has still produced a fine and piercing piece of work!

My Giant (Head): Review of Frank

Frank

Director: Lenny Abrahamson

By Alex Watson

No one will ever truly know or understand the methods of British comedian Chris Sievey or his reasons for creating his giant headed alter-ego 'Frank Sidebottom'. Although his comedy and overall act brought differing reactions from people, you cannot deny this was a memorable persona. Irish director Lenny Abrahamson this year brings us a film heavily inspired by the man himself. Nor there will not be any Monopoly Song or any tunes relating to football, but you can expect the music to get in strange in his movie, Frank. 

Budding songwriter Jon Burroughs (Domnhall Gleason) is waiting to get his big break into the music industry. By complete accident after witnessing the attempted suicide of their keyboard player, he finds himself drafted into obscure band 'The Soronprfbs' lead by odd papier-mache headed singer Frank (Michael Fassbender) Together the band goes to a secluded house in Ireland to record an album, but Jon soon find himself out of place amongst all the madness of the group! Soon Frank and his bizarre antics begin to put a strain upon events.

If you were expecting a straight up biopic of Frank Sidebottom then prepare to be surprised because Frank is a very esoteric yet uproarious movie by Lenny Abrahamson and its unique sense of off beat humour works very well for the most part. Co-script by Sievey's former band member Jon Ronson, this movie makes audiences question what kind of art music truly is, and more important does Frank or Jon deserve a place among the mainstream?

At first Jon relishes his seemingly lucky break, when we first meet him he is a bored and creatively empty young man living at home with mum and dad. But the moment he goes on tour and finds himself locked away in a remote Irish cabin until Frank finds the 'perfect sound' he realizes that he has bitten off more than he can chew! From here on out, Jon has a front row seat to the mania that ensues. The problems of fitting in with the band is a continuing problem and he finds himself forever questioning if he earns a place there because as icy theremin player Clara (Maggie Gyllenhaal) tells him "You should go home!"


The Soronprfbs are a band whose music is hard to categorize, and although Jon through secret filming and posting of videos gets the band infamous online- their upcoming slot at the South by Southwest festival may not necessarily go to plan! However, we instantly fall in love with the giant headed Frank, particularly for his description of his facial expressions out loud. But its the mystery that intrigues Jon about him, and all around him are convinced he is a genius. Is Frank really a mad musical genius or is he really just a lunatic wearing in a silly disguise? This ambiguity makes for an interesting debate in Abrahamson's film and until the final reel we are still uncertain of our answer!

But although this film is fun and has a very quirky edge to it, Frank suffers from a uneven third act and this section makes the film dip in quality as Jon makes the transition into near insanity. Although partially stirring, Frank's fall to earth both musically and personally has a rather dull ring to it and as Jon becomes a reluctant detective to find him, it leaves a bit of a hallow ring. All errors aside, Abrahamson manages to inject enough humour into proceedings to make this a forgiveable mistake and skilfully he manages to leave things on a uplifting (albeit it fractured) note.

Michael Fassbender gives what is perhaps his most extraordinary performance to date. Sat mostly behind a gigantic staring head, he somehow manages to conjure up a stunning sense of emotion mixed with borderline insanity. But it's his skilful underplaying of the possible insanity that makes Frank all the more memorable and although he could off at any moment, we pray he comes through. Domnhall Gleason is one the who scores highest in the likeability stakes and his charming portrayal as underdog Jon is one that gives us something to cheer. Musically he may not have a clue, but compared to the other unstable members of the band, Jon knows exactly where to take them! Gleason is one the best upcoming talents currently and JJ Abrams should feel proud for casting him in his upcoming Star Wars movie!

It may not be a completely perfect movie, but Frank is still an interesting journey for film fans to undertake and it will at least make you question your taste in music afterwards. Frank Sidebottom may not be the key focus of this movie, but his legacy still lives on through Abrahamson! Though shame there was no mention of "Bobbins" or "Blimey"