Broadcast News: Review of Christine

TIFF EXCLUSIVE 

Christine 

Director: Antonio Campos 

By Alex Watson 

Chances are if you look up a list of the most shocking moments in live TV history, the 1974 on-air suicide of Christine Chubbuck will most definitely feature. Antonio Campos's biopic Christine finally gives British actress Rebecca Hall the role that finally demonstrates her ability. Channelling her frustration and disillusion of working in the male-dominated world of journalism. A fundamental honest character study, the result is a harrowing and affecting tale. 

Christine Chubbuck (Rebecca Hall) is a 29-year-old journalist working for the small TV station, WRZB Sarasota in Florida. Convinced she is on the way up, her journalistic style doesn't go down well with her chauvinistic boss Michael (Tracy Letts). Unable to connect with her colleagues and unhappy about the continually boring stories she is saddled with, Christine will soon take a drastic step to make viewers sit up and pay attention. 

Opening with Chubbuck practicing filming herself doing an imaginary interview with Richard Nixon, Christine immediately cuts to her perfectionism and the strain this causes. Moments before her story is broadcast on air she demands they cut a few seconds to the anger of Michael. Campos also makes it abundantly clear just how much camera appeal Christine lacks. Coming across as bored and uncaring, she struggles to put any enthusiasm into any of the vanilla stories she is set to cover. While interviewing a fruit stall owner she fails to even look remotely interested. Set in the blood and guts era of 70's journalism, "If it bleeds, it leads" is very much the motto. 

Her inability to connect and find meaningful relationships is another key element to Campos' picture. The only real confidante she has is her mother Peg (J.Smith-Cameron) whom she fiercely depends on. When her mother announces she has met a new man, Chubbuck's reaction is like that of a spoiled child. Things with her co-workers fare little better, she pines after handsome news anchor George Ryan (Michael C Hall) but when the attraction is return she goes cold. Jean Reed (Maria Dizzia) is the one team member who attempts to reach out to her, but as a woman on the verge, Christine simply bypasses this. Campos highlights that her introverted and somewhat unapproachable nature may have lead to her icy and uncaring appearance on camera. 

Peg is concerned throughout about her daughter's worsening mental health. There are whispers about an incident while she lived in Boston. Michael's continually bad attitude towards her also begins to make her spiral, desperate for more air time she agrees to give her boss more bold and controversial stories, but like always with this man what she delivers just doesn't impress. Christine is essentially a build up to the moment that Chubbuck pulls the trigger live on air. Campos smartly doesn't just draw out the mileage and instead gives a marvellous and empathetic portrayal of a woman who just wants to be noticed but is unable to confront the feels that she has for people. When the moment hits, the result is still as shocking as it was back in 1974. Christine will achieve her on air notoriety and this breaks our hearts. 

After years of languishing in supporting parts in big films such as Iron Man 3, Vicky Cristina Barcelona and The Prestige, Rebecca Hall is finally given the role she was born to play. Wonderfully portraying the inner struggles that Christine Chubbuck suffered, Hall's monotone like delivery gives us a big window into the inferiority that she feels. Audiences should be prepared for a real whirlwind performance and in Christine's more reflective moments, Hall is simply electric. One scene sees her finally given a glimmer of hope by snagging a date with George, what follows is a slow decay of happiness which is completed by being forced to play the game "Yes, But" Hall in the sequence shows her meltdown has about to reach full circle. 

Christine is one of those movies that will fly under the radar at TIFF this year, but I think we all hope that Hall's name alone will feature on awards lists. Campos has given us a powerful story, I highly recommend audiences seek this out on general release. 

Standing On The Shoulders Of Giants: Review of The BFG

The BFG

Director: Steven Spielberg

By Alex Watson

Despite Steven Spielberg wielding some neat and magical visual touches, his adaptation of Roald Dahl's The BFG cannot escape feeling slightly underwhelming. The casting of Mark Rylance and Ruby Barnhill is inspired and the pair together are the main source of fuel for Spielberg's picture. The principle problem is that although this adaptation is wonderful is some areas, it also drags in others. Although the great man tries his hardest, this just doesn't feel like vintage Spielberg.

Sophie (Ruby Barnhill) is an orphan living in London who one night is snatched up by giant The BFG (Mark Rylance). Taking her back to his home, The Giant World the pair begin to bond when he shares his hobby of collection and giving dreams to people. In this land, he is one friendly giant as all others are bloodthirsty children eaters led by the Fleshlumpeater (Jermaine Clement). Together the pair hatches a plan to put a stop of their evil deeds for good.

Despite a very promising and tense opening where we see The BFG snatch Sophie from her bed during 'the witching hour' Spielberg cannot keep this momentum going. Seeing his giant hand reaching for the curtains is as thrilling on a big screen as it was on paper. The early scenes of her introduction to this 24-foot gentle giant are very touching with some well-timed comic moments. His constant particular speech and mispronouncing of words get plenty of laughs, as he refers to humans as 'Beans'. But none get more giggles than when he shows what when you do a 'Whiz-Pop' by drinking Frobscottle. Although these scenes do bring a charm, the film is too reliant on dialogue and as a result, scenes feel overly long.

London has never looked more wonderous on screen and the scenes set during the black velvet night look like something right out of a fairytale as BFG and Sophie deliver a pleasant dream to young boy where he gets a call from the US President. Entering Giant country, at first, we are transfixed by its beauty, most notably during a gorgeous sequence where we see the giant collecting dream. The FX in this scene sparkles like a beautiful dream and is a rare moment of wonder. The child-eating giants while visually impressive, lack any kind of development and they feel tame compared to the horrifying creatures in the 1989 animated version. BFG is bullied for being a runt and is too meek to fight back. Yes, he has our support as the underdog, but after a point, we wish these guys would just go away.

The final act promises great things as Sophie and BFG approach the Queen (Penelope Wilton for help. Giving her one of the worst dreams imaginable, what follows is possible the strongest scene in the picture as she along with her maid Mary (a lovely Rebecca Hall) find Sophie outside her window. Can the Queen possibly believe this unlikely dream about the Giants she just had? Also, there is the added bonus of watching her butler Mr. Tibbs (Rafe Spall) trying to get the Queens guard out without giving himself away. Comedy galore comes rolling forward when BFG is giving breakfast, requiring servants to give large quantities of eggs, toast, and many other things while he is perched up high. Spielberg is known for being funny, but here is carries off well. Sadly for all our hopes, the finale is a rather bland one and only adds to the gigantic disappointment that has been looming throughout.

Mark Rylance proves to be a fine choice to portray the BFG and he is able to both charm and amuse us in equal measure. Sporting a West Country accent, this big guy is a slightly bumbling and confusing character at first. Once the kinks have been ironed out, a big-hearted and lovable giant is born and Rylance brings to life the joy that Dahl gave this character. Ruby Barnhill is an equally wise choice and her down to earth portrayal of Sophie is one of the movie's plus points. The two leads bounce off each other well and are primarily responsible for keeping at a respectable level. Jermaine Clement might have convinced as Boris The Animal in MIB 3, but he is given little work with here. In this age of CG, the Fleshlumpeater should have been a horrifying sight. Instead, he is reduced to comic foil.

The BFG has brief moments that will bring a smile, but Spielberg is not able to make this one of this summer's strongest hits. Hopefully, his adaptation of Ready Player One will be up to scratch.