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 Fighter: Review of Southpaw

Southpaw

Director: Antoine Fuqua

By Alex Watson

Although Antoine Fuqua's boxing drama, Southpaw feels a little familiar story wise, it does boast one of this years most powerful performances. Outside of the ring this film doesn't quite hit above its weight. The script by Kurt Sutter does give us a hero who we do firmly root for, even if he might not have the charm of Rocky Balboa. Fuqua is an adept hand at providing solid  film making and his form continues here.

Billy 'The Great' Hope (Jake Gyllenhaal) is the reigning Light-Heavyweight Champion known for his angry and aggressive fighting and hard knock out style. His wife Maureen (Rachel McAdams) is becoming concerned with the brutal beatings he is taking and urges him to cut back. When Maureen gets killed during a brawl with a rival boxer Miguel 'Magic' Escobar (Miguel Gomez), Billy's life begins to spin out of control.

Southpaw might not hit the classic heights of movies such as Raging Bull, but it is still a compelling look at a man fighting his demons both in and out the ring. Billy is a fighter who literally knows how to take a beating, he is all attack and never defend. He is riding high but his injuries are beginning to concern people. After tragedy hits, Billy become a mess of a man who gets lost in a haze of addictions until his daughter gets taken away by social services. Deprived of nearly all he loves, Billy is very much the fallen hero. Fuqua's presentation of a man having to go back to his old roots and rebuild himself is at least a smart reverse of a rags to riches story.

In the ring is the where the movie pulls the most punches and as we see Billy both taking and receiving savage hits, it is impossible not be mesmerized. As an antagonist, Magic offers little more past being a trash-talking jerk, but he does ensure the audience has a desire to watch him go down in flames. The people in Billy's life are both a blessing and a curse, when his trainer abandons him Billy approaches old school trainer Tick Willis (Forest Whitaker) whose lack of trust and affection might be the tools Billy needs to repair himself. Unlike former manager Jordan (50 Cent) who despite acting like family happily abandons him when the money runs dry.

The main compelling story line is truly Billy's wish to be reunited with his daughter Leila (Oona Lawrence). Relationship wise this is no straight forward story and Billy is very much an unfit father drowning in a pool of despair after Maureen passes. His yearning to improve himself is what really drives the film and despite some bumps along the way, Billy learns he can be more than just a punching machine.

Jake Gyllenhaal gives a whirlwind performance that makes Fuqua's film come alive. A ferocious presence on-screen,Gyllenhaal turns in what could be a career best turn. Billy is the complete opposite of Nightcrawler's Lou Bloom because despite having street smarts, he doesn't know how to handle the world outside his animal persona the ring. This powerful and painfully real turn could well be the one that finally wins this man an Oscar! Forest Whitaker also gives strong support as trainer Tick which he underplays masterfully. Tick is very much the blow softener and through his old methods he is the only man to rebuild Billy from the ground up.

While Southpaw maybe largely absent from the big prize come Oscar time, Jake Gyllenhaal will be expected to among the list of nominees are criminally being overlooked last year. This movie hits just above the right levels, but you have to wonder what could have been?