Modern Romance: Review of Disobedience

Disobedience

Director: Sebastian Lelio

By Alex Watson

Sebastian Lelio is a director who seems to know the right way to produce heart-wrenching drama. His Oscar-winning 'A Fantastic Woman' showed a trans-woman who is openly oppressed while dealing with tragedy. In his new effort Disobedience, he focuses his attention on another forbidden romance. Throughout this picture, there is a repressed emotion that builds to almost stifling levels. Based within the Orthodox Jewish community, we see a love that is in every way forbidden but also deeply desired. Unfortunately, what should have been a blueprint for a movie of high feelings and tension instead has a rather deflated feel.

After years away in New York, Ronit Krushka (Rachel Weisz) returns home to her old community in London following the death of her Rabbi father. Previously ostracized for admitting her feelings for old flame Esti (Rachel McAdams), her return immediately causes friction amongst the Orthodox community. She also learns that Esti is now married to their old childhood friend Dovid Kuperman, who highly favoured by her late father. Both Ronit and Esti are still drawn to one another, but with so much at stake- can they resist?

While his previous effort had sparks popping frequently, Disobedience is a move that will likely polarize viewers. Lelio is well suited to the movie's emotional core and he does a fine job of portraying the mixed reception Ronit receives when she first returns. Declared dead by her old father and cast aside to the memory of the past, she is always fighting to exist within the community she grew up in. When she encounters Esti, Lelio does bring some wonderful repressed feelings to the surface. The problem we face here is that movie takes far too long to bring things to where they need to be. We understand early on that Esti is a woman trapped in a very traditional world and that Ronit's more free-spirited nature could bring both of them ruin. The sad part, this is where the movie's main focus seems to lie and Lelio spends too much time wallowing in this buttoned-up desire.

Part of the issue in this movie is the subject matter itself. Frequently we get the sense that this movie isn't entirely confident portraying the Orthodox community and instead shows it as a rather narrow-minded and confrontational one. Dovid, in particular, suffers as a supporting character and throughout we see him a staunched traditionalist whose views will inevitably collide with his wife's. Esti is confined to what seems like a miserable existence, but we never truly get the sense of why she is sticking it out? While is picture does portray some of the dangers of Esti and Ronit romance, it feels like it is simply running down the clock until the final confrontation between characters.

When showing the desire this romance holds, the picture feels more in its element. Ronit and Esti share a passion that has never dwindled. Both yearn to live a life of happiness, but there is an inevitability and fear of breaking free of what Esti knows. While we want this to be the great love tale of 2018, Lelio's remains far too focused on the differences between characters. During the movie's finale, the previously repressed feel is finally broken and during this stretch, there are finally bursts of colour. Sadly, we feel this is too little too late and we are left to reflect on what could have been.

Rachel Weisz is an extremely talented actress, but this role feels like familiar ground for her. She is used to playing these sort of outspoken and rebellious roles. While as usual, she has a strong presence on screen, Weisz doesn't feel like she is testing herself. Rachel McAdam's Esti is also slightly underwhelming and this character feels like a rather blank slate. One of Hollywood's most consistent actresses, she is fine in this role and it is a more daring one that she has previously played. However, McAdam's is giving precious little in return. Alessandro Nivola does a great showcase in subdued feelings and his Dovid is the one we come away feeling worst for. A committed yet old-fashioned husband, he simply wants his wife to stay.

Disobedience both delights and frustrates in equal measure. Sebastian Lelio is a magnificent director, but this picture feels like a mismatch for him.

The Game: Review of Game Night

Game Night

Directors: John Francis Daley and Jonathan Goldstein

By Alex Watson

Thanks in part to a sharp script and spot-on cast, Game Night is a movie that satisfies on belly laughs alone. The chemistry between leads Rachel McAdams and Jason Bateman gives this movie its comedic charm. Horrible Bosses writers John Francis Daley and Jonathan Goldstein make a surprisingly effective team. While the story might be a tad predictable, there is much to like in this effort.

Max (Jason Bateman) and Annie (Rachel McAdams) love nothing more than hosting and winning game nights. However, their mood soon sours when Max's older and vastly more successful brother Brooks (Kyle Chandler) comes to town. When they allow big brother to host game night, he promises it will be on they never forget. When gun touting thugs burst in and kidnapping, the couple soon realises they are playing the most dangerous game of all.

Game Night appeals in droves early on, starting with the typical (and adorable) meet-cute when Max and Annie meet ironically during a game night. Despite being able to thrash their friends (Billy Magnussen, Lamorne Morris, Kylie Bunbury), their hopes to start are a proper family are being thwarted by their mixed opinions about having a child. To make matters worse, Brooks is in town and as one member describes he is like "The Mark Wahlberg to his Donnie!" Vastly successful and always winning against his brother, Brooks decides to one-up game night by staging a murder mystery. When criminals suddenly burst in a take him, the indifference the gang reacts with is truly hilarious. Credit to both Daley and Goldstein, for the majority of the film they do a go job of blurring the lines between real and fake when it comes to this kidnapping.

Once the group realizes how raised the stakes are, the twists keep coming and they are more and extreme each time. The standout scene sees Annie attempting to take a bullet of her husband's arm while using rubber gloves and tweezers. The fact she could only find him a squeaky toy hamburger to bite down on only adds to the hilarity. The supporting cast is also well served during this story with Kevin (Morris) determined to find out which celebrity his wife (Bunbury) bedded while they were 'on a break', the reveal afterwards provides an underrated source of laughs. Ryan (Magnussen) is the group's good looking dimwit who begins to become attracted to straight talking Linda (Sharon Horgan). There's also looming question of precisely how real are all of these events? Brooks remains an ambiguous character throughout and Daley and Goldstein are sly when it comes to their clues.

If there is one criticism to give Game Night it is that the final act is where the picture momentarily loses steam. The directing duo, for the most part, is great at keeping the laughs coming but when it comes to the big twist- it feels slightly obvious and this makes us feel let down. While this picture isn't ever going to be considered groundbreaking, you feel it has enough smarts to avoid the typical story traps. The final act is well-staged and brilliantly executed, especially they are forced to fit into a bizarre party held a wealthy criminal (Danny Huston). There is also the added bonus of having Jesse Plemon's extremely awkward and watchful cop Gary hovering by- a man desperate to join game night but creeping out all in return.

Jason Bateman and Rachel McAdams are a wonderfully matched pair. Bateman's makes the use of his typical dry wit and likeable everyman charm. Although she's a tried and tested dramatic actress, you forget just what an appealing comedic lead McAdam really is. Here her and Bateman make for a believable and extremely cute pairing which makes the film excel. Kyle Chandler is also excellent as the unbearable Brooks- on the surface, he has all a man (and Max) could want and more. Chandler shows a different and more desperate side later on but somehow retains a magnetism to this character that still draws us to him.

Game Night is a comedy to just sit back and enjoy- though consider yourselves warned if your brother ever hosts a night like this one.

Strange Days: Review of Doctor Strange

Doctor Strange

Director: Scott Derrickson

By Alex Watson

While it may appear like Inception on acid at points, Doctor Strange is a thoroughly entertaining new Marvel adventure. With a stand out turn by the reliable Benedict Cumberbatch, this tale of sorcery is one that continually surprises us. Derrickson also has the psychedelic element down and over the course of the movie he drags his audiences to dimensions they couldn't possibly dream of. Watching this in 3D is worth the admission fee alone.

Dr. Stephen Strange (Benedict Cumberbatch) is a cocky surgeon known for his magic hands and ability to perform risk operations. After suffering a major car accident, his hands are crushed and the nerves are damaged, leaving him unable to practice. Strange quickly runs out of money finding a cure, until he hears of a place in Nepal that can cure people. When he arrives he meets the Ancient One (Tilda Swinton) who along with Mordo (Chiwetel Ejiofor) introduce him to a form of mystic arts.

Doctor Strange starts like any other origin tale, he is an arrogant doctor that burns through his cash on fast cars, expensive watches and thinks the good times won't end. He has a love/hate relationship with fellow Doctor Christine Palmer (Rachel McAdams) and she is possibly the one person who puts up with him. His car crash is an earth shattering one and Strange descends into near insanity trying to find a way to fix it. After being tipped off by a former patient, he heads to Kathmandu and looks for Kamar-Taj. Arriving here, the film begins to have fun with itself as Strange mocks the Ancient One and her beliefs. Moments later he is knocked out of his corporeal form and sucked into a dimension of vivid colours and crystals, this sequence is trippy to the core, especially when he arrives in a place where little hands start sprouting from his own hands. Arriving back to a smug smile from the Ancient One, you can literally feel his hand expand.

The principal threat comes from Kaecilius, a former student of Kamar-Taj who turned to the dark side of the arts. Seeking an alliance with a demonic force who promises eternal life, this where the story has its most fun. During these battles, we get some of the most awe-inspiring CG of 2016. Entire buildings change form, gateways to different locations are opened with the flick of a wrist and the possibilities are endless. A break from the Avengers norm, Derrickson seeks to give his audience a visual feast and we begin to question what we know of time and space. Big questions of the characters themselves also hang over the film, just how does The Ancient One keep her youthful appearance, will Strange be seduced by the prospect of eternal life? Although the story does drag in places, Derrickson is able to keep this picture on its toes.

Impressively for a third act, Doctor Strange is able to not to succumb to the typically overblown Marvel endings of late. Derrickson keeps things unpredictable during a Hong Kong set finale, where Strange attempts to go against what he has been taught to save the date. It also features one of the most unexpectedly hilarious sequences, keep a mental note of time loops during this movie it will come in handy. Strange is one character who you will grow to love despite his flaws because underneath his cocky exterior beats the heart of a true hero. This character in the wrong hands could have been a big mistake for Marvel, but Derrickson carries off with such finesse that it is hard to imagine this universe without him.

Benedict Cumberbatch shows his action hero chops and effectively carries off Strange's smug sense of humor. He succeeds admirably at building this character from the ground up during his recovery as he becomes a broken man in every sense of the word. Cumberbatch fits the character like a glove as he grows in confidence, so does his magical abilities. It will be fascinating to see what he does with more installments. Less fortunate are Rachel McAdams and Chiwetel Ejiofor, a great of great actors denied any kind of relevant screen time and given zero to do. Mads Mikkelsen also gets short changed as Kaecilius who is so underwritten that there is little threat to him. Mikkelsen is proven at playing villains and deserves better material.

Doctor Strange alongside  Captain America: Civil War is one of the stronger offerings Marvel will throw our way this year, this will be one piece that demands Blu-Ray purchase in future.

City of Ghosts: Review of Spotlight

TIFF EXCLUSIVE

Spotlight

Director: Thomas McCarthy

By Alex Watson

Thomas McCarthy's movie Spotlight is one that gives a powerful voice to the victims covered in the Boston Globe's 2001 Pulitzer winning campaign. All the way through this movie treads a fine line between what journalistic boundaries are allowed to be crossed. It may be lacking the needed tension and the lead characters are not nearly as well-developed as we would like. But the feeling of past trauma's being painfully dragged forward is an emotional force that drives the movie. 

Boston Globe reporters Walter Robinson (Michael Keaton), Sasha Pfeiffer (Rachel McAdams) and Michael Rezendes are all members of the Spotlight section. When their new editor Marty Baron (Liev Schreiber) takes an interest in an old case that hints at a sex abuse scandals involving catholic priests, they begin to dig deeper. However, the further they go old wounds become reopened and throughout their investigation it becomes clear the rabbit hole goes further they ever imagined! 

One of the main strong points of Spotlight is the feel of the close-knit community of Boston that is key to their investigation. People in this heavily catholic city do not like talking, especially when it involves speaking up about past trauma's. Soon it becomes apparent that this paper was tipped off about this scandal years before, but chose to bury it. Baron although a quiet almost background like figure is the one who gets the ball rolling. The statues of limitations is largely biased against survivor claims and it becomes clear that some lawyers are willing defending guilty clergymen to line their own pockets. Only determined lawyer, Mitchell Garabedian (Stanley Tucci) is willing to fight to get the case tried in open court. The legal obstacles both progress and hinder the story and in places make the movie feel longer than necessary

The lead characters are the ones given the principal focus and this does slightly interfere with the narrative. Also they do not feel nearly as explored as they could have been, Rezendes and Robinson are both weary and burned out men who live for their jobs. Sasha while her uncertainty about her catholic faith makes for an interesting side note isn't really a character who holds our attention. McCarthy does well keep the movie driving along despite a slightly stalling feel story wise. His movie does contain some real stand out scenes which have the ability to shock, such as Sasha's interview with an old priest who happily admits to molesting boys. The scene is so tongue in cheek, you wonder if should dare laugh at such things? 

Overall Spotlight is a strong effort from Thomas McCarthy and he does succeed in shedding a heavy light on the effects of the abused, many of whom were kids from tough neighborhoods seeking comfort. As one survivors puts it "It was like God coming to your home" and their betrayal combined with their lifetime of shamed silence have torn lives apart. The voices of the innocent are ones that touch the central trio greatly and in the wake of events such as 9/11 occurring, the desire to bring forward the injustice suffered is always burning. There are always mentions that high up church members were aware for years of scandal happening. Soon into McCarthy's film, you get the distinct impression that God has abandoned this city long ago. 

Michael Keaton keeps up his fine form after his great turn in Birdman last year. Robinson is a jaded editor of a small section who is just trying to do the right thing. Keaton however doesn't go for fireworks and instead comes off as the cool and collected member of the picture. Mark Ruffalo is the figure who truly holds our attention as Rezendes and throughout is a ball of energy. His bitterness towards his betrayed beliefs in his catholic upbringing makes for some intense work. Ruffalo could well be an interesting consideration for a supporting actor prize. Stanley Tucci once more give a scene stealing masterclass as Mitchell Garabedian. His wish to see wrongs righted, no matter what the cost marks him out as one of the few honest men around. 

Thomas McCarthy is slowing adapting himself to life in the mainstream and Spotlight is a movie that is a puts him on course. It may have its flaws, but you cannot deny the power of story telling here. The people involved in this scandal were put to justice, but the scars of the actions taken will live forever.

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?

Hawaiian Tropic: Review of Aloha

Aloha

Director: Cameron Crowe

By Alex Watson

Despite a starry cast, Cameron Crowe's Aloha is a very misguided affair. There is a bright and upbeat tone from the beginning, but this proves to be a burden on the film as we have no real idea exactly what type of film Crowe is trying to make? His usual quirks are very much present, but lack the needed punch to get this film kick started into life. Yes the central trio of characters are very attractive and charming, but they fail to add any real any real depth to characterization.

Brian Gilchrist (Bradley Cooper) is a former Air Force turned civilian contractor who nearly lost his life in Afghanistan. To prove himself, he is given a second shot by billionaire, Carson Welch (Bill Murrary) in his old ground of Hawaii. While home, he reconnects with his old flame, Tracey (Rachel McAdams who has since married and started a family. But soon he begins to fall for rising officer, Captain Allison Ng (Emma Stone). Life altering decisions lie ahead.

The principle issue with Aloha is these lost soul stories are beginning to feel all too familiar from Cameron Crowe. Unlike his earlier work, Crowe is unable to find the right spark to ignite the film. The overly nice feel that surrounds events goes into overload early on and fails to cut the thrusters! Everyone on this island is so forgiving of everything that it lacks any sense of pain, regrets or conflict. Tracey and Brian have history and while there are close ups galore which reveal the hurt lurking below, it never truly grabs at us like it should. Before long, we feel like leaving the party and just leaving them to it.

Centrally, due a confusing style of dialogue and some lack of explanation, the story gets lost in a haze. We know that Brian was once a rising star but due to some unfortunate events, his life lies in ruins. There are red herrings given to what might have caused this, but the closure needed is one that continually disappoints. This is not the only story related problem the movie is saddled with, for instance why doesn't Tracy husband Woody (John Krasinski) ever talk? And precisely why does Carson want to launch his new suspicious looking satellite? The answer are all present, but due to Crowe's slightly muddled presentation they are lost on the Hawaiian breeze!

Though there is an air of redemption hanging around, it feels far too cliched! The main romance between Brian and Allison is one that is cute and sweet, although suffering with some awful dialogue. But we never really get a sense of just why Brian is worthy of redemption? His cynical outlook  to the world is a real mystery. Even though he innocently flutters his pretty eyes throughout, is it not enough to make him an engaging central character. Had this been made a decade ago, this would have been a perfect Crowe flick, but today it just feels substandard.

Bradley Cooper sadly in this film is not given a character worthy of his talents. Proving to be one of the most absorbing presences in Hollywood, Brian is very much a blank page and he is given little to work with to fill it. Also for this type of role, he doesn't feel downtrodden enough to convince. Perhaps someone with more grit could have shaped this differently? Emma Stone is the real treat of Crowe's film sporting enough peppy charm as the fast talking Allison to make her stand out. Always able to seem effortlessly engrossing, Stone is very much a talent on the rise. The usually consistent Rachel McAdams however, is stranded in a one note role as Tracey.

Aloha may not be the worse film that you see all year, but it is a far cry from the Cameron Crowe of old! Constantly feeling more saccharine than a lollypop, the movie doesn't seem to know where this is a comedy, a drama or maybe both? Though if you're in the mood for a wallow then this may suit you just fine!