Ocean Commotion: Review of Aquaman

Aquaman

Director: James Wan

By Alex Watson

While it suffers from a rather lifeless and convoluted plot and some truly awful dialogue, Aquaman has enough thrills to provide satisfaction. The action on screen is a mixture of several surreal, bizarre yet utterly entertaining sequences. While Jason Momoa might not have the acting chops down, it matters little here as he has the presence and charisma to hold things together.

Arthur Curry is the product of a lighthouse keeper father (Temuera Morrison) and the Queen of Atlantis, Atlanna (Nicole Kidman). As a young boy, his mother disappears to keep the peace between the sea and land. In the present day, Arthur is a renowned superhero of the sea's known as Aquaman. His half-brother Orm (Patrick Wilson) is threatening war between the surface world and Atlantis. To help save the day, Arthur must choose to embrace his past and become the king he was born to be.

While Aquaman, for the most part, is a fun adventure, it clearly doesn't give a damn about giving a plausible story. While James Wan does provide some pretty epic visuals (the entrance into Atlantis is jaw-dropping), he seems to hope that the continuous action and scenery will distract us from the drawn-out and needlessly confusing ocean political battle. Things begin promisingly with the potential for a decent backstory explain the doomed romance of Arthur's parents- sadly Wan seems in a rush to get through this. While its fun to see Atlanna single-handly wiping out a hit squad, a needed sparkle is lost early on. Arthur is very much the ace in the deck in this movie and his slightly hungover, surfer boy feel gives this character a needed realism.

While the threat of war looms throughout this movie, the story is hampered by what seems like endless political chicanery. Orm comes across as the Draco Malfoy of the deep sea, a blonde, petulant man-child who hates humanity and sets about staging a fake submarine attack to win the favour of other tribes. Many of supposedly big threats to planet earth are quickly forgotten- would a Tsunami really be dismissed so quickly? What could have been an interesting side story is let down by a number of one-note characters such as the seahorse riding Nerus (Dolph Lundgren). Worst of all is the tacked on side story of the vengeful pirate Black Mantra (Yahya-Abdul Mateen II) which adds little aside from fisticuffs and slowly destroying a seaside Sicilian town. There is an element of wannabe Shakespeare in this one as both brothers seek to claim the throne. While there is a thrilling battle to the death sequence, most of the action sequences are so out there that it cannot help be entertaining.

Ever seen an Octopus do a drum solo? A boat attack by weird amphibious monsters? Oh, and did we mention an Island filled with pterodactyls? It is almost as if Wan randomly choose the most far-out ideas he could find and put them in the script! This is what gives Aquaman its entertaining feel because even if you have zero idea what is happening you will still be fascinated. The idea of Arthur as a human/fish half-breed who cannot exist between either world is also compelling and his struggle to find his place draw us to him. The tug-o-war romance between him and Orm for mermaid character Mera (Amber Heard) adds little to story despite her being a guide for Arthur. Most bizarre of all, there is barely any mention of his Justice League status! However, maybe this movie all the better from distancing itself and finally giving needed screentime to one of the better finds of this team.

Jason Momoa might never be an acting superstar, but he sure as he has the feel of the character down. Giving Arthur a refreshing everyman quality, he is able to highlight his flaws as well as his natural leadership. Fond of his beer and also not afraid of brawling with armed pirates, Arthur is a conflicted soul who is frequently put down for his heritage. Momoa gives him a likable yet clueless charm which honestly serves this picture well. Patrick Wilson, however, is stranded with a bland and lifeless villain character- a regular collaborator with Wan in the Insidious and The Conjuring franchises, his Orm comes across as little more than a continually smirking jerk. Nicole Kidman aside from a couple of impressive scenes is given precious little as Atlanna which is disappointing because she has a strength which has the potential to define the main character.

Aquaman may not give much hope to the future of Justice League movies, but it is certainly one of the more different blockbusters you will see in 2018.

Saved: Review of Boy Erased

TIFF EXCLUSIVE

Boy Erased

Director: Joel Edgerton

By Alex Watson

Joel Edgerton's career as a director so far shows he is unafraid to tackle sensitive subjects. Adapting Garrard Conley's hard-hitting memoir Boy Erased, Edgerton gives a powerful commentary about the effects of LGBTQ people forced into conversion therapy. He also addresses the fears and often irrational actions of parents concerned more with their image than accepting their children. With a breakout turn from upcoming star Lucas Hedges, this is one of the most powerful films that 2018 has to offer.

Jared Eamons (Lucas Hedges) is a young man who is the son of  Pastor Marshall Eamons (Russell Crowe) and doting mother Nancy (Nicole Kidman). While away at college, he is outed as gay to his parents who offer him a  compromise- either be disowned or attend gay conversion therapy. Forced to attend a program under the leadership of the outspoken Victor Sykes (Joel Edgerton), Jared quickly becomes disillusioned with the message being given and has doubts over whether it will cause any real change.

"You cannot be born a homosexual. This is a lie, its a choice," comments Sykes at one stage. Throughout Boy Erased, Edgerton is able to tread a very fine line with his message on conversion therapy. Jared is a young man who encompasses the All-American boy, he is popular, athletic and comes from a loving but devout Baptist family. Edgerton jumps back and forth between timelines to give an impression the past that has plagued Jared. One of the more harrowing sequences comes from when Jared meets fellow college student Henry (Joe Alwyn) and a blossoming romance quickly turns into a sexual assault. Starting in almost rom-com style, this switch from a meet-cute to a life-altering event is shocking. From here, Jared's life begins to unravel. Under Sykes rule, the attendees are frequently put through the emotional wringer and are often derided. Sadistic instructor Brandon (Flea) is particularly savage- forcing students to line up in order of how manly they seem.

Everyone is simply trying to do the right thing, Sykes while abusive and narrow-minded is under the illusion that he is fixing people. However, this approach brings up some moments which are almost unbearable. Such as when fellow classmate Cameron (Britton Sear) is forced to be beaten by his family with bibles to 'strike out the demon'. The slow camera shots and dark orange glow of the room make this look almost like a horror film. Thankfully, Edgerton resists the urge to make these people cartoonish villains and instead he shows people more bound by tradition than hate. Marshall is a proud father who is wary of his families image and is unable to shake the old ways but never once is he made out to be hateful or prejudicial. Nancy is also an old-style mother who 'falls in line' but throughout her awareness about the horror of the situation grows to the extent where she can barely disguise it. Jared at first agrees to this treatment due to his love of the family, but frequently he finds himself plagued by self-doubts and his growing backbone skulks the screen like a tiger. He is never a big talker, but throughout his quiet manner, you can sense his frustration and confusion building.

Boy Erased is a frightening commentary on the real effects of being forced into the closet. In the program, the students are all just trying to push through, but the threat of being kept long term is one that is utterly horrifying. Edgerton smartly casts Quebecois director Xavier Dolan as the conflict Jon who 'salutes' rather than touching others and Australian singer Troye Sivan who encourages our hero to 'fake it till you make it!' These people are always to refer to their homosexuality as a sin and this repression and mental abuse is shown as harming lives rather than saving them. While this type of story might be familiar and in some cases almost a Hollywood staple, Edgerton is able to project a much need bite into proceedings with overselling the potential redemptive themes. One beautifully acted scene towards the end sees Jared finally lays out to his father how their relationship should be and guaranteed there will not be a dry eye in the house! "I don't want to pretend anymore' our hero says and right there is the official slogan the movie is looking for.

Lucas Hedges has already been making a name for himself with his turns in movies such as Manchester by the Sea. Here, he ensures that his name will be among the nominees come Oscar time. His performance is one of great reserve and he fully amplifies the pain and confusion that Jared feels. He also finds room to also give him a likeable yet smart-ass feel as the movie increases and by the end, this character has become fully rounded. Nicole Kidman also gives her all in the supporting department and Nancy's love for her son is frequently tested by never once broken. Russell Crowe has a hard task portraying the unshakable religious father but he adds a human element to this role which shows how a father's love often conflicts with his morals. As the hard-headed Skyes, Joel Edgerton delivers a performance that at times is at risk of being a caricature, but mercifully he elevates his performance to show a man convinced his is doing God's work but his short-sighted approach is only succeeding in driving away those he wants to save. A little tidbit about him at the end credits will raise a smile.

Some may see this type of film as a guaranteed road to Oscar glory- but you can't deny the sheer power of storytelling in Boy Erased. On performances alone, this has serious awards contention.

A Stranger In My Home: Review of The Killing of a Sacred Deer

The Killing of a Sacred Deer

Director: Yorgos Lanthimos

By Alex Watson

Colin Farrell and Greek helmer Yorgos Lanthimos are becoming the new odd couple. After collaborating on the bafflingly brilliant picture, The Lobster, once again they strike gold. The Killing of a Sacred Deer is a bold, brave yet disturbing feature film. Lanthimos may confuse some people with his mixture of sadistic humor with high tension. Those who are familiar with his style will be blown away by one of the best movies of 2017.

Steven Murphy (Colin Farrell) is a successful surgeon who is bonding with troubled teen Martin (Barry Keoghan). Happily married to Anna (Nicole Kidman) with two children, everything seems pretty rosy. However, Steven was also the surgeon who operated on Martin`s father when he died. One day, Martin reveals he has placed a curse on the family and now Steven must kill one of his own family to balance the scales.

There is an eerie and distorted feeling from the very first moment of The Killing of a Sacred Deer. Kicking off with a bizarre conversation between Steven and colleague (Bill Camp) about watches- Lanthimos clearly intends to take us in all different directions. Steven`s relationships with others are put under the microscope early. Barry seems to have an almost mentor friendship with him, despite the deliberately strained conversation. There is also a heavily sinister undertone and Martin is always showing up unannounced at the hospital. Anna is a loving and doting wife and willing allows him to explore his fetish of having sex with her while she pretends to be asleep. Although everything is picture perfect on the outside- Martin slowly exposes the flaws the family has and pretty soon things become tense.

Quickly Martin asserts his dominance over Steven's daughter Kim (Raffey Cassidy) and son Bob (Sunny Suljic). One moment sees his daughter get undressed in front of him, only for him to casually reject her. Guilt is another factor that is heavily implied throughout Lanthimos' picture. Steven carries a burden from the night Martin's father passed away. His refusal to acknowledge his potential liability marks him out as prideful and stubborn. During the early stages, we are never sure whether Martin is toying with Steven or is genuinely interested in bonding with him. During a freaky dinner at Martin's, his mother (Alicia Silverstone) makes a bizarre pass at his 'beautiful hands' and the rejection that follows seems to be the catalyst for what follows. In a shocking yet brilliantly underplayed sequence, the young man reveals the terrible truth. In a nervous and overly fast voice, Steven is informed that if he doesn't kill one of his family, they will all become paralyzed and slowly die.

From this point on The Killing of a Sacred Deer transforms into pure psychological horror. Thanks to the terrific camera work of Thimios Bakatakis we are drawn into every father's worst nightmare. Out of nowhere, his children get sick and no solution can be found. Steven transforms from a cool and collected being to becoming a wounded tiger. Soon he resorts to increasingly desperate measures to try and salvage a no-win situation. The moral implications of what he will have to eventually do are almost sickening. Lanthimos drags his audience through the whole spectrum of emotions and we all know that we cannot look away.

Colin Farrell demonstrates that with the right director he can be a revelation. Carrying the movie's emotional and mental core- Farrell shows a side of his acting we have seldom seen. Some may still sneer at his ability (particularly his big-budget failures) but its impossible to deny that he is Oscar-worthy here. Nicole Kidman also gives strong support as the suffering yet committed Anna. Almost the Lady Macbeth figure, later on, she is the one behind the scenes keeping it together. Newcomer Barry Keoghan almost steals the picture from Farrell with a menacing turn as Martin. From the moment he enters his permanently monotone voice is immediately unsettling. Keoghan is a star we need to watch closely.

Some may find The Killing of a Sacred Deer extremely unsettling, but Yorgos Lanthimos is very different kind of director. On tension and style alone, this is brilliant filmmaking.

The Guest: Review of The Beguiled

The Beguiled

Director: Sofia Coppola

By Alex Watson

Sofia Coppola was deservedly awarded the Best Director award at the Cannes Film Festival. The Beguiled is a movie that oozes sexual tension and makes the most of its dark and tense feel. Showing the consequences of desire, Coppola focuses on the arrival and later descent of an unwelcome male visitor in a strong female house.

John McBurney (Colin Farrell) is a wounded Union soldier who has deserted during the Civil War. Chancing upon young student Amy (Oona Lawrence) he asks for refuge. Reluctantly taken into an All-Girls school by Martha (Nicole Kidman), his presence causes friction among the women. Although charming and appealing, soon his behaviour becomes a cause for concern.

There is a disturbing ambience to the Virginia setting from the opening frame of The Beguiled. The isolation of the woods and loneliness of the location alone creates an almost haunting atmosphere. John's appearance lights the fuse and from there Coppola slowly builds the seductive feel. Having the enemy lodging in a Confederate territory is not an appealing prospect, but frequently they relent because it is the charitable thing to do. McBurney is a slippery fish to handle as he seduces and flirts with all who comes across him. Teacher Edwina (Kirsten Dunst) is conscious of the danger he possesses but still gets caught up in his charms. Young student Alicia (Elle Fanning) is more direct and confident in her pursuit and this competition soon threatens to unbalance everyone.

It could be viewed that Coppola's movie is as much about female relationships as it is about unspoken desires. John views himself as the potential man of the house, a view we all debate vigorously throughout. The innocence that Martha has worked so hard to attain is quickly ripped apart and soon the school is ablaze with rumours and whispers. McBurney at first has a ball fighting for their affections and Irish lilt gives him the lovable rogue quality. The threat of having to turn their deserter guest over to avoid trouble is a never ending back and forth debate. What McBurney could do if tossed out of the house feels like more trouble than its worth. During the movie's middle section, Coppola excellently gives her movie an internal strife despite some obvious red flags.

The sheer shock and awe that goes into the final third marks The Beguiled out as Coppola's finest in some time. Having been a contented house guest, McBurney shows a different and altogether frightening side when things come full circle. Like a wounded tiger trapped in a cage, his presence goes from unwelcome to downright hostile. Coppola smartly shows which side holds the cards and the female bonds go deep. Paying attention to the small details is a wise move in this picture because they are ones which come back to haunt people. The ending given is as stone cold as any you will see this year. Sofia Coppola has had an up and down career, for every Lost in Translation there's a Marie Antionette. This picture shows what a talent she can truly be.

Colin Farrell gives a fine two-sided performance as John. On the one hand, a good man stuck in a bad situation, on the other a trickster who is bluffing his way through life. Farrell makes full use of his natural charisma and makes it fully believable how one man can cause so much havoc. Nicole Kidman is likewise excellent as the lady of the house Martha, a character who adheres to a strict code of conduct. Despite her concerns, she succombs to the same thoughts and feelings of those around her. Previous Coppola contributor Kirsten Dunst gives a wonderfully repressed performance as Edwina. Trying to remain true to herself, John is making her want to abandon her life. Elle Fanning gives one of her strongest performances as the no longer innocent Alicia and shows just why she's one of the finest young actresses around.

The Beguiled is a movie that firmly demonstrates Sofia Coppola's talents and makes us wonder what she has up her sleeve for the future.

The Way Back: Review of Lion

Lion

Director: Garth Davis

By Alex Watson

While this might be a moving picture of rediscovery, Garth Davis' Lion is a picture that pulls at heart strings a little too deliberately. Strong turns from Dev Patel and Nicole Kidman do give this movie a great soul. Director Davis keeps the story well paced and affecting parallels the difference in Saroo Brierley's two separate upbringings. However, you can't help but feel that this is tailor made Oscar bait from the Weinsteins.

Saroo Brierley (Dev Patel/Sunny Panwar) is a boy growing up in rural India to a loving family. One while accompanying his brother, he gets separated and as a result, he is transported over 1600 miles away to Calcutta. Adopted by loving Australian parents Sue (Nicole Kidman) and John (David Wenham), Saroo grows into a mature and caring young man. Even though he has embraced his new home, he still yearns to find his old one. His obsessive search will lead him to Google Earth and maybe a shot at finding his beloved family.

The notion of true identity is the big issue on display in Lion. Early scenes see Saroo's idyllic life living in Phanawar with his mother and brother Guddu. One day while accompanying his brother for a night job, Saroo falls asleep on a train and in a gut-wrenching sequence finds himself awaken on a speeding train. When he arrives in the large and frightening Calcutta, he finds himself forced to wander the busy streets where threats lurk all around. Davis does well to bring forward the daily threats he faces, even from people appear to be kindly strangers Adopted by Sue and John, finally, he finds some stability, although the presence of his other adopted brother Mantosh brings the family its own set of problems. Having grown into a well loved 30-year-old man, Saroo both thrives and feels guilty over his comfortable life.

His eternal restlessness is something that plagues his conscience throughout. His relationship with fellow student Lucy (Rooney Mara) is continually strained by his devotion. Reflecting on the family he left behind, Saroo becomes aware of Google Earth, the problem is he cannot remember the name of his hometown. Sadly the sequence of his frequent browsing on the internet do limit the action of the film. While we feel the passion and dedication that he pours into finding home, at times it feels like a glorified commercial for Google Earth. After a bright and emotionally raw start, the middle ground loses power and constricts us to Saroo looking emotional and lashing out at people. Davis' seems to over emphasise his conflict that he feels with living this happy life and far too much of the picture becomes occupied with him finding himself.

Lion is a picture that visually is a stunning ride and flipping back and forth between the beautiful images of Australia and India very grabbing. As a first time director, Garth Davis has created a very accomplished picture. In particular, his linking of the love that Saroo feels for both sets of his family. Saroo yearns to be reunited with the family he lost but also feels immense guilt lying to the people who raised him. This is not a perfect picture by any means but at the same point, it is one that makes you think about what family truly means. On an emotional level, this movie doesn't go all out and Davis keeps the tears at bay during a well measured last act. This picture will no doubt be popular come awards season, even if it feels a little forced.

Dev Patel makes for an engaging lead as Saroo Brierley. Still digesting the background he has forgotten along with the life he has become accustomed to, Patel excellently portrays a deep inner conflict. Rooney Mara sadly is stranded in what is a somewhat token role as girlfriend Alice, Stuck with mainly nagging Saroo, Mara is given little to work with. Nicole Kidman gives superb support as mother Sue and gives a touching turn. In one brilliant moment, she gives a speech about a vision she had that would lead to her adopting her son. Kidman's heartfelt approach to her character will likely see her among supporting actress nominees.

While you cannot fault Lion for its great story or its ambitions, this just feels like a movie too engineered for awards.

This New Day: Review of Before I Go To Sleep

Before I Go To Sleep

Director: Rowan Joffe

By Alex Watson

It is unimaginable to consider forgetting your entire life, the loving memories of people that we have known over time are the ones we treasure most. This idea has been explored in cinema before as individual attempt to piece their existence back to together. Rowan Joffe this week gives us his demonstration of a woman attempting to shape her memory once again but forever finding horrific clues in his adaptation of S. J. Watson's novel Before I Go To Sleep.

Since a terrible accident 10 years previously, each morning Christine Lucas (Nicole Kidman) wakes up with no memories of her prior life and has to be reminded by her husband Ben (Colin Firth) of the last decade. But one morning she gets a call from neurosurgeon Dr Nasch (Mark Strong) who has apparently been treating her. Slowly Christine begins to realize that her past maybe more surrounded in secrecy than she realizes.

Before I Go To Sleep is a thriller than despite some neat visual touches by director Rowan Joffe fails to break any new ground. This whole idea of amnesia and someone having to patch the cracks together has been done to death before, Joffe's strives to be better than its finished product- but you can't escape that this is more or less an British attempt at making the new Memento! Initially the mounting suspicions provide some decent early tension, but this soon dissolves into your standard friday night thriller.

From the outset there is a lack of suspense surrounding events and neither Joffe or the talented cast can ignite the spark that is badly needed. Each morning when Christine's memory empties yet again, we do wonder what each new day will bring as the clues become more ominous. As a central character, Christine is a vulnerable and lovable soul, but she is also a rather bland one that fails to raise any kind of significant characterization. Her husband Ben and the seemingly well intentioned Dr Nasch make for interesting male sparring partners and provide some nervous yet loving moments.

Sadly even though the guessing game is at times a moderately entertaining one, Before I Go To Sleep can't recover what is undoubtedly a predictable and rather flat conclusion. After coming on this journey we are given the ending that in our minds we probably guessed from the moment that she woke up! Joffe is a talented director and is showing signs of his father Roland's early promise but he will need to raise his game about average thrillers like this to be effective.

Nicole Kidman's performance is one firing element of the movie and as Christine she brings about a great sense of fragility. With her crystal blue and permanently suspecting eyes, Kidman demonstrates her ability to elevate beige characters to an acceptable level. Colin Firth and Mark Strong are both compelling in their roles but are not given nearly enough decent material to work with. Strong in particular is stranded as the confidante and is required to do little other than sound reassuring throughout.

Sadly despite its yearning to be something outside the box, Before I Go To Sleep is left with a distinctly ordinary feeling to it. Joffe may one day pull something remarkable out of the hat, but it will not be with this piece.