The Lady in the Water: Review of The Shape of Water

The Shape of Water

Director: Guillermo Del Toro

By Alex Watson

The most unique and offbeat tale this year can offer, Guillermo Del Toro has created something very special. The Shape of Water is a movie unlike any the Mexican maverick has made before. Known for his stunning visuals in movies such as Pacific Rim, Crimson Peak, and Hellboy, this movie is all about heart and soul. With a clutch of wonderful performances to compliment the touching story, this will be an award's season favourite.

Set in Baltimore during the 1960's, Elisa Esposito (Sally Hawkins) is a mute yet big-hearted cleaner at a government science facility. She helps care for her elderly neighbour Giles (Richard Jenkins) and she also has a strong bond with co-worker Zelda (Octavia Spencer). One day a mysterious creature known as 'The Asset' (Doug Jones) arrives along with hard-nosed and brutal security officer Colonel Richard Strickland (Michael Shannon).

Alongside DP Dan Laustsen's bright colored and vivid cinematography, Del Toro display's a delicate touch with his directing. This picture goes above the level of emotion displayed in his masterpiece Pan's Labyrinth and shows us that love isn't just bound by species. Elisa is a character who views herself as an 'incomplete' human due to her muteness but yet she brings little pockets of joy to those who know her. Giles- a gay and rather scatterbrain artist relies on her heavily to get by. At first, a mousy person who doesn't dare rock the boat, the sheer courage she displays, later on, make us adore her. When she first comes across the creature- she is naturally very curious. Slowly, she bonds with it by feeding it boiled eggs and little by little a deep bond is formed. What makes this so poetic is the fact they have to communicate without words. Connecting through music and simple gestures, Del Toro shows how the smallest actions can be the most effective.

Despite the fact, this creature poses no threat to anyone- Strickland is all about protecting national security. This picture's equivalent to Captain Vidal, Strickland is a harsh man armed with an electric cattle prod who always believes that the end justifies the means. Although a family man, the Colonel lives a very regimented existence both in and outside work. He likes to keep his wife quiet during their passionless sex and seems to have little interest in his two children. Inside work, he bullies and terrorizes the creature for little other reason than he can. What is wonderful about Del Toro's The Shape of Water is that each supporting character has their own story to tell. Scientist Robert Hoffstetler (Michael Stuhlbarg) is a man who desires to protect this creature- but yet is also a Russian spy! Giles is a failed artist who is unwanted by both his old company and the attractive male diner worker he desires. Zelda in any other movie would have been the comic relief aspect, but in Del Toro's universe, she's a key player whose devotion to her friend Elisa is unconditional.

Coming together as an unlikely army of protectors, this band of cast off's are determined to protect the Asset with all their might. The growing love between Elisa and this amphibian being is unique because both are considered not completely human. From the beginning she doesn't see this creature as something to be feared- instead, she notices a being that needs to be nurtured. Unable to express her love- there is a beautiful scene in which she imagines singing 'You'll Never Know' which gradually turns into a full-on black and white musical dance number. Credit also needs to be given to production designer Paul Austerberry whose transforms 60's Baltimore into a sparkly place of wonder. His use of teal, in particular, is stunning and his underwater scenes wouldn't look out of place in a Disney picture. Even Strickland at one stage purchases a teal Cadillac- these subtle nods towards nautical themes is one of many fascinating elements this picture possesses.

Sally Hawkins gives a performance of the highest order. Boasting arguably the finest silence turn since Jean Dujardin in The Artist, Hawkins is simply mesmerizing. Excellently projecting her character's inner torment at being unable to express herself- Hawkins brilliantly uses her sign language to both highly comical and extremely devastating effect. Reliable baddie Michael Shannon is once again memorably nasty as the button-down psycho Strickland. Heavy on 'protocol' but unafraid to bend the rules- Strickland is hulking and violent menace whenever on screen. Richard Jenkins stakes his own supporting claim with a wonderful turn as the rejected Giles. A fun reverse on the old cat person spinster character, Giles like Elisa is unloved by the world. Jenkins gives a gentle yet potent supporting turn. Octavia Spencer will most definitely be among the nominees come award season. Zelda is a character that goes deeper than expected, on the surface, she is the typical chatterbox but underneath she has the heart of a lion.

The Shape of Water is a movie that will undoubtedly grace many top 10 and awards lists this winter. Guillermo Del Toro has shown us another beautiful side of his directing, where he goes from here will be fascinating.

Fierce Creatures: Review of Nocturnal Animals

Nocturnal Animals

Director: Tom Ford

By Alex Watson

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

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

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

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

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

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

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

Ordinary Love: Review of Loving

Loving

Director: Jeff Nichols

By Alex Watson

Jeff Nichol's Loving is a wonderfully low-key drama. This picture focuses on the length battle faced by Inter-racial Virginia couple Richard and Mildred Loving. Nichols refuses to go for the fireworks and stays true to the quiet determination of the couple. By letting their love and refusal to back down tell the story, we are given a pair of powerful lead performances. The couple's fight lasted over a decade and went all the way to the US Supreme court. This recounting of Virginia's unjust Racial Integrity Act marks an important event in US marriage laws.

Richard Loving (Joel Edgerton) takes his African-American sweetheart Mildred Jeter (Ruth Negga) to get married in Washington D.C. Although her family raises concerns over the trouble this could cause, both proceed with the marriage. Soon afterwards, the cops are tipped off and the pair is arrested. Eventually, they are forced by a court to move to Washington. Refusing to go quietly, Ruth writes to Bobby Kennedy to ask for help with their case- in turn, he refers lawyer Bernie Cohen (Nick Kroll) to them. What will follow will ultimately amend the US Constitution.

A pleasantly intimate movie, Loving is a picture that is not about big speeches or fiery courtroom scenes. Nichols refuses to sink into showing blatant racism and instead focuses on the troubles faced by a couple in love. When they first marry, Richard has no worries even though all around him are questioning his actions. One night they find themselves yanked out of bed by Sheriff Brooks (Martin Csokas) and hauled off to jail. Despite having their marriage certificate and being above board, they are simply told: "That's no good here!" It's never made clear who precisely has tipped off the cops? The accuser is not the focal point, it's the injustice that speaks loudest. To avoid jail time, the pair is forced to plead guilty and leave Virginia for 25 years. This separation for their families causes a huge strain on both sides of the aisle.

While the couple's personas on screen are only skin deep, they remain true to the real life characters. Richard is a man of few words who tends to mumble, Mildred is the warmer side to the to the couple. Although her husband wants nothing to do with the case, Mildred still writes for help. Bernie Cohen is an ACLU lawyer who although inexperienced with Civil Law, is still driven by the possibility of making legal history. The case comes second to the couple's story, the pair even refuses to appear at the US Supreme Court. Nichols is also able to litter his film with some fine moments of suspense during this stretch. Being followed by another vehicle on an isolated country road is bound to get the blood pumping. The pair returns to Virginia which could well see them jailed again. Unswayed by legal penalties, the pair is determined to raise their numerous children in their home state. The portrayal of the Loving's marriage does lack some depth. Despite their devotion to each other, we don't feel the warm glow we expected.

As the case picks up speed, the attention on the couple increases. Richard is visibly uncomfortable when forced to answer the questions reporters ask. The presence of Life Magazine photographer Grey Villet (Michael Shannon) also makes the couple feel awkward. Refusing to take centre stage, the pair shuns the publicity that the case gives them. This is the most powerful aspect to Loving because under normal circumstances we would see a couple passionately defending themselves to all. Richard and Mildred don't feel they need to justify anything,  their love speaks for itself. When asked what he wants to tell the Supreme Court judges, Richard matter of factly tells Bernie "Tell em' I love my wife!" Another point of note is how Nichols portrays people of the Deep South. He resists the urge to portray the people of Caroline County as a group of narrow-minded racists. Sheriff Brooks while disapproving doesn't feel the need to harras the pair. Richard's mother quietly states he shouldn't have married Mildred, but nonetheless helps deliver her child. Under normal circumstances, this would be big bait to telling a story of injustice. In Nichols view, everyone deserves a fair shot.

Both Joel Edgerton and Ruth Negga are simply fabulous as Richard and Mildred. Edgerton in particular rolls out his strongest performance to date. A man who lives by a strict set of morals, Richard's devotion to his wife is absolute. Often when faced with simply backing down and taking an easier path, Richard will reject it and fight on. Ruth Negga is a real stand out and the Irish-Ethiopian actress gives a heartfelt turn. Embodying the kinder and gentler side to the marriage, Negga carries the audiences worries and hopes forward. This is one performance will definitely kick start her career and you should expect this name at least to appear on the award circuit.

Loving is a movie that might be a slow experience for some, but Nichols is no great hurry to tell this tale. Those who stick with it will be reward by seeing one of the truly strong couples our time.

The Gift: Review of Midnight Special

Midnight Special

Director: Jeff Nichols

By Alex Watson

A thriller in the vein of Steven Spielberg, Jeff Nichols Midnight Special is a sci-fi movie with a heart. A nod to such classics as Close Encounters, this picture is as much about the bond between father and son as it is about supernatural events. Having Michael Shannon once again anchoring his picture gives Nichols a protagonist who is all about survival. What precisely are the abilities of the special child on display? And just how priceless is he to humanity?

Roy Tilden (Michael Shannon) takes his son Alton (Jaeden Lieberher) from a religious cult and goes on the run with cop Lucas (Joel Edgerton). This 8-year has a gift which is not from this earth and both the NSA and FBI are taking a big interest in him. It is clear that Alton has a destiny to fulfil, but what exactly will this involve? Also, when it comes full circle, how will this affect life as we know it?

Smartly in Midnight Special, Nichols limits the amount of backstory we know about the pairing of Roy and Alton and we open with them driving through rural Texas at night. Almost immediately it is made apparent that Alton is no ordinary boy and his glowing eyes behind his blue goggles make us uneasy. The cult seemed to rely heavily on his influence and now federal authorities are wondering how this child got hold of classified coordinates? Early on there is a magnificent sense of unease as the trio have to creep their way through the darkness. One shocking sequence sees Lucas turn on his car lights at the most unfortunate moment which will lead to their cover nearly being blown.

Nichols' picture is more about humanity that the beings above it. Roy's love of his son knows no bounds and frequently he steps in the way of danger to allow their plan to move forward. Lucas makes for a fine conflicted partner who finds himself worrying more about Alton's wellbeing than the plan going well. A former cop, he makes for a smart yet compassionate voice. Adam Driver's NSA analyst Paul Servier also comes off well as he is the only agent to see past the big opportunity presented. The boy and his abilities are seen as having great benefit to the nation, what makes this all the more unnerving is we are not sure precisely how dangerous they are?

Frequently we are given short bursts of stunning visual effects such as Alton pulling down a government satellite from the sky. As the pieces rain down in a meteor storm upon a gas station, this provides a big jump. At the anticipated finale, the dazzling visual effects are almost second to the love and compassion on display. All the way through Midnight Special the main theme has been parents love for their child and Nichols makes sure this isn't a point that is missed. There are no big speeches or reaffirming of love, the pained and longing expressions say far more.

Michael Shannon gives an impassioned turn as father Roy and gives the movie its emotional cell. Always a great presence in movies, Shannon is a tough yet gentle soul who will protect Alton until his dying breath. Fast becoming one of this centuries most watchable talents, Shannon is on great form here. Joel Edgerton refuses to be upstaged and gives a turn that matches his co-star, Lucas is a man who lives by a strict moral code but doesn't flinch when asked to go above it. Edgerton is both the movies muscle and its voice of reason. Kirsten Dunst however, is stranded in an underdeveloped role as Alton's mother. After delighting us in St Vincent, Jaeden Lieberher is once again excellent and is becoming another youth talent to watch.

Midnight Special may just be the dark horse of 2016 and this is a movie with a brain and a soul. Prepare to ask yourself some big question about what lies beyond the stars as you exit.