In just four movies, Damien Chazelle has emerged as one of the most innovative directors in Hollywood. His Neil Armstrong biopic First Man now pushes him into the stratosphere. Capturing the sheer danger involved with the 1960's 'Space Race', Chazelle brings us an astonishing take on one of the most important historical events. Rather than get bogged down in patriotism, he gives us an authentic look at ordinary engineers trying to pull off a monumental task.
Neil Armstrong (Ryan Gosling) is a civilian pilot who is considered to be something of a wildcard. Eager to push the boundaries, Armstrong joins the NASA Space Program which quickly sees him set against other experienced pilots such as Ed White (Jason Clarke) and Buzz Aldrin (Corey Stoll). While his reputation will slow skyrocket, there are also several tragedies that emphasize the hard mission that lies ahead. What follows will cement his name in history.
First Man immediately hooks its audience from the first frame as we see a young Armstrong as a test pilot. Bringing his vessel up on the edge of space, he soon gets caught in a nightmarish scenario as he continually rises towards the great unknown. The sheer tension and exhilaration is but a taste of what is to follow. Armstrong is a quiet and slightly introverted man who is reeling from a personal tragedy. Preferring numbers to people, this picture perfectly channels his dislike of the public eye but shows the sheer tenacity he brought to the job. Considered a liability in the air due to several 'mishaps' he faces some stigma from his superiors. Shot in an almost subdued colour ratio by DP Linus Sandgren, Chazelle lets the pace roll along slowly and gives his audience time to understand its protagonist. His wife Janet (Claire Foy) is wary of the task her husband is trying accomplish, but her fears and concern are loudly voiced.
The 1960's Space Mission was one of great tragedy and Chazelle never lets the audience forget the good men who lost their lives. The Apollo I disaster is the most horrific of them all and NASA at this point is literally playing with fire. As the deaths stack up, so do the fears of both the men and wives involved with the project. The director refuses to go easy on his audience when it comes to technical details and the mathematics and jargon come thick and fast throughout to give us a glimpse of how thorough and precise each person would need to be to prevent even the smallest error. The moon landing is highlighted as the main goal, but the movie's most unbearably tense scene comes from when Armstrong's Gemini 8 attempts a test docking sequence. Those how are claustrophobic may want to look away because never once does Chazelle take the action out of the crowded cockpit and rarely leaves the face of Armstrong and as the spacecraft spins faster out of control, so do the nerves all audience members. Set to regular composer Justin Hurtwitz's screeching score, any hope we have a relaxed and peaceful film vanish into the depths of space. During the sequence, there was no green screen involved and the reactions on the cast members are very much real!
As First Man nears its final mission, there is a sense of strain building as Neil is forced more into the path of the press. Unlike the more jovial and charismatic Aldrin, Neil loathes the attention and public scrutiny that the space race is considered costly and wasteful. The potential threat to their lives is made overwhelming clear. One scene even sees Chief Deke Slayton (Kyle Chandler) is forced to listen to a death announcement pre-written for the Apollo 11 crew. When we finally reach the moon, the audience is finally allowed to exhale. This picture, however, always keeps Armstrong in its sights and it is a very fascinating portrayal of a man considered an All-American Hero. His bravery in the face of adversity is utterly enthralling, but few of us understood the personal cost it involved.
Ryan Gosling in his second outing with Chazelle perfectly channels Neil Armstrong. A fiercely private man with no time for silly questions or intrusions, Gosling shows us a man fighting an internal battle and having to keep himself in check when good men are dying all around. At times a surly and far too literal human, Gosling shows us a lighter side to his character around his family combined with an intense fear of disappearing into the great unknown. This could well be Gosling's year for Oscar glory. Claire Foy however, emerges as the one who wins the audience sympathy and as Janet Armstrong she captures the audiences growing concerns as her husband prepares to embark on a possible suicide mission. So frequently this type of character is underwritten, but in this piece, Janet is given room to grow and we see firsthand the toil it creates on her family life.
First Man is a remarkable piece of work about an event that was so well documented. At only 33, Damien Chazelle has already earn a place among the elite.
After 30 plus years of questions, doubts, delays, and fears, finally, Blade Runner 2049 comes to our screens. Many doubted its credibility and others simply wanted to believe it was a bad idea. In the hands of Denis Villeneuve, we have been given one of the greatest sequels of all time. Still engrossed in the grimy and neon-soaked world that Ridley Scott delivered- this is a picture that has both heart and brains.
In 2049, LAPD officer KD6-3.7 (Ryan Gosling) is assigned with hunting down the obsolete Nexus 8 replicants. However, while investigating on a protein farms, K finds an old box which contains a big secret. The contents of this box could spark a war between human's and replicants and his boss Lt.Joshi (Robin Wright) is keen for it to disappear. While on the hunt for clues, K's investigation will lead him to old Blade Runner Rick Deckard (Harrison Ford).
Villeneuve has stayed true to his source material and the future he shows us is equally as bleak and haunting as the 1991's directors cut version. Veteran Roger Deakins' provides some lush and colourful cinematography which contrasts beautifully with Dennis Gassner's retro set designs. The old Tyrell corporation has gone broke and now visionary Niander Wallace (Jared Leto) creates all 'skin jobs' walking the streets. K as a character is almost like a blank slate- a dutiful officer who does his job without arguments and has a hologram for a girlfriend (Ana De Armas). Subject to hate and scorn by his fellow officers and neighbours for his 'Blade Runner' status, K is just a man doing a job. Watching him undergo a weird 'Voight- Kampff' type test will make your head spin as you hear 'integrated' so many times. His investigation begins with something so innocuous. While investigation old Nexus 8 farmer Sappar Morton (Dave Bautista) he happens upon an old box containing bones. The secret behind them is truly mind-blowing and any preconceived notions of replicants are blown out of the water.
Anyone in a hurry to get results needs to be patient because this is one investigation that rolls along at a steady pace. Blade Runner 2049 is a movie intent on revealing the puzzle one piece at a time. We understand early on something earth-shattering is coming our way. Wallace, in particular, has his eye's on the big prize and sends his faithful assistant/assassin Luv (an impressive Sylvia Hoeks) out to stake his claim. Visually this is a stunning ride and we see such sights such as a scorched Las Vegas ruin (Deakins photography shines brightly against the neon orange glow) and a derelict orphanage in a junkyard that used to be San Diego which looks like a cross between Oliver meets Dune. Taking us beyond the rainy and snow-swept streets of urban LA, Villeneuve shows us the true decay of planet earth and how those left behind are playing the price.
Smartly the appearance of Deckard is left until almost the final act- giving us time to understand K's mission and his motives for giving chase. Very much a secondary character but still so vital to everything, Deckard still hasn't lost any of the old charms. Possibly the most beautiful looking movie of 2017, it's actually astounding just how much Denis Villeneuve has achieved with this sequel. Subtle nods to the old one are there in droves, but their presentation of life in 2049 makes for a much grittier and bleaker atmosphere. Humanity is on its last legs and is now reduced to using protein farms to avoid famine and death. In this universe, Replicants might just be the way of the future. Hans Zimmer and Benjamin Wallfisch's score is one that captures the mood and emotions that go with this sequel- while also saluting the legendary Vangelis score that came before it. Few sequels will achieve this level of brilliance in the next few years.
Ryan Gosling is perfectly cast as new Blade Runner K. His air of cool gives his character a much-needed edge. On the surface, he is a barely drawn character, but underneath he is far more complex. Driven to solve this mystery, K fears just what he may find and that he might just be an important cog in the machine. Harrison Ford also boasts his strongest performance in many years. Rather than just showing up, Ford digs deep and shows us a hollowed out wreck of a man who is conflicted about past actions. Ford's screen time is simply electric and but he also stays true to the principles of this character and 30 plus years on- Deckard is still a great character.
Blade Runner 2049 is simply magnificent- Denis Villeneuve has taken this sequel to heights never thought possible. As Gaff said in the original 'They've done a man's job sir!"
2016 was a sad year in terms of deaths as we said goodbye to legends such as David Bowie, Alan Rickman and Prince. It was also a devastating summer for DC as both Batman vs Superman: Dawn of Justice and Suicide Squad tanked with critics. However, we have emerged with one of the most competitive Oscar races in recent years and once more had it proven that The Avengers rule the roost of summer movies. Here are my highlights of another great film year.
Top 10
1. La La Land (USA.Dir: Damien Chazzelle)
Few pieces of cinema were as hypnotic as Damien Chazzelle's musical. Demonstrating the addictive highs and brutal lows of a relationship, our hearts went through the grinder. A modern musical classic, each song and dance number will leave you wishing life had more spontaneous moments. Emma Stone and Ryan Gosling made for an impossibly cute couple and together they made 2016's best on-screen pairing. Be prepared to go through the entire emotional spectrum and allow yourself to be entranced. Damien Chazzelle has proven himself in the musical category- what lies next? Comedy?
2. Manchester By The Sea (USA/Dir: Kenneth Lonergan)
Giving the picture only the runner-up spot was a tough one indeed.The sheer power of Kenneth Lonergan's film cannot be denied. Casey Affleck gives the performance of a lifetime which is a masterclass in suppression and grief. Forced into being a reluctant father figure, his character cannot be free of his past but cannot embrace the future. Lonergan's potent depiction of the how our ghosts can never truly leave us left audiences in bits. It also showed us the very meaning of family and how despite our differences, we are always linked together. 3. Arrival (USA/Dir: Denis Villeneuve)
After claiming my top spot last year, Canadian Denis Villeneuve is once more in contention. Delivering this year's smartest and most engaging thriller, this might be the closest example of the possibility of alien contact. A top draw performance from Amy Adams was the beating heart of Villeneuve's picture. Forging a bond with her alien subjects, Adam's Louise Banks felt like the one woman who was destined for this honour. Continually nerve-jangling as the ambiguity of this mysterious earth visit plays out. This picture has us wondering how alone we are in the big universe? Best start reading up on alien signs, it might come in handy if they should pay a visit for real!
4. Moonlight (USA/ Dir: Barry Jenkins)
The best-reviewed movie of the year, Barry Jenkins' movie was something very special indeed. His story a young boy navigating the tough roads of being a homosexual in a rough Florida slum was engrossing. The Brutality of youth and the harsh realities of growing up were painful brought forward as young Chiron gets the hard knocks education. Mahershala Ali was the father figure all potential gangster dream of and Naomi Harris was the unbalanced mother all boys fear. Jenkins picture was a beautifully realised one and few pictures made better use of the carefully crafted camera work like this one. An unlikely but worthy story subject, Jenkins has finally arrived on the Hollywood scene.
5. Nocturnal Animals (USA/Dir: Tom Ford)
From fashion designer to Hollywood director, Tom Ford has had quite a ride. Nocturnal Animals was a blood pumping thriller from its bizarre opening of a fat, naked woman dancing with sparklers. Endless tense and sporting superb multiple interpretations, Ford's picture was one that played on your mind for days afterwards. Is the horrifying story of Texas revenge portrayed in Jake Gyllenhaal's book a reality? Or this is a sly dig towards his marriage to ex-wife Amy Adams? Frequently the lines between reality and fiction become crossed as Ford's two movies in one intertwine.
6. The Revenant (USA/Dir: Alejandro Gonzalez Inarritu)
Finally, this was the role that won Leo DiCaprio as deserved Oscar and this was quite possibly the most stunning visuals of 2016. Alejandro Gonzalez Inarritu's inspiring story of survival secured him back to back Oscars. Watching Leo's Hugh Glass being viciously mauled by a bear was hands down the most uncomfortable viewing experience this year had to offer. Literally, this explorer goes to hell and back multiple times and still keeps on crawling. Cinematographer Emmanuel Lubezki was the real star of this picture and his gorgeous photography makes even the worst hardship seems wonderful. You will not see a more committed performance than this one- worth the wait Leo!
7. Hell or High Water (USA: Dir David Mackenzie)
This tale of Texas revenge was a brilliantly smart one. Appearing as your standard bank heist thriller, the true genius of British director David MacKenzie's film won't be immediately apparent. Linking up with Sicario writer Taylor Sheridan, the result was a wonder story of brotherly love and bank robbing. Chris Pine and Ben Foster might have been the stories conscience, but Jeff Bridges calm and assertive Texas Ranger was what stole the show. Equally heartwarming and thriller, this picture also had a lot of laughs for good measure. Do not read up on this film before viewing because the revenge tactic is a beautiful one that raises a middle finger to the real crooks. 8. Jackie (USA/ Dir: Pablo Larrain)
Few first ladies were more iconic than Jackie Kennedy and Natalie Portman's performance as the former Mrs Kennedy was a mighty one. Pablo Larrain drags his audience into a wife's worst nightmare and Portman shines brightly bringing her trauma and distress forward. Afraid of JFK's legacy being cast aside while the grieves, Larrain makes full use of Jackie's determination to see his final send off being memorable. Rarely do biopics like this feel like genuine reconstructions and you will like an unwanted guest watching her cling to her husband's lifeless body during that fateful day in Dallas.
9. The Hateful Eight (USA/ Dir: Quentin Tarantino)
Movies like this one remind us of what a great writer QT can really be. His tale of eight mysterious strangers cooped up during a heavy snow story was one that always kept us guessing. In its 70MM glory, watching the blood splatter was a thrilling experience and it lets way to a magnificently claustrophobic feel. After the script was previously leaked, it seemed like this project had hit a dead end. Never one to take things lying down, Tarantino thankfully resurrected this from the dead and this tale of continuous side switching might have been lengthy- but it never once got old. Try listening to Samuel L Jackson's 'Black Dingus' story without squirming!
10. Gleason (USA/Dir: J.Clay Twill)
Rarely does a documentary picture get under your skin quite this like one. The tale of former NFL player Steve Gleason being diagnosed with ALS will ensure there are no dry eyes in the house. A humorous and forever spiritly subject, Gleason refuses to let his declining body beat him down. Facing the prospect of not seeing his newly born son Rivers grow up, Gleason is determined to make the most of his time on earth and together with his incredible wife Michel, this duo puts up a good fight. All throughout Steve battles with his fears, but always seem to find a joke in-between. His tear-jerking interview with Pearl Jam's Eddie Vedder is one of the impassioned moments this picture has to offer.
Best of the Rest 11. The Birth of a Nation (USA/Dir: Nate Parker)
Overshadowed by the controversy of director Nate Parker's past, the tale of former preacher turned slave rebel Nat Turner was a jarring one. Showing the violent and often poor living standards African-Americans were forced into, this picture was a racially charged timebomb. 12. Christine (USA/ Dir: Antonio Campos)
The suicide of Christine Chubbuck shocked TV audiences back in 1973, Antonio Campos brought us one of this year's most tragic bio pictures. Rebecca Hall was finally given a role to sink her teeth into and as the fated Chubbuck she showed us a fame desperate woman struggling to connect with people. 13.The Innocents (FRA: Dir Anne Fontaine)
Shocking yet beautifully stark and uplifting, Anne Fontaine's tale of a Belgian nurse tended to a convent of raped Polish nuns hit home hard. A viciously honest performance from veteran Polish actress Agata Kulesza was what gave the picture its bite. Especially when she what homes she really gives the newly born babies.
14. The Nice Guys (USA/Dir: Shane Black)
Not many directors in Hollywood can give the hard and funny approach like Shane Black. This story of two vastly different private eyes thrust into each other paths was a belly full of laughs. Russell Crowe and Ryan Gosling together made for a wonderful awkward pairing- please give these guys a sequel!
15. The Witch (UK: Dir: Robert Eggers)
Possibly the scariest and most unorthodox tale of the year, Robert Eggers movie was a psychological masterstroke. Making full use of Ye Olde English and the Puritans setting, Eggers continually found ways to mess with our heads and refused us the closure we so desperately need. Always be wary of buying black goats in future! Male Star of the Year: Ryan Gosling
We couldn't get away from Ryan Gosling this year as he dominated our screens. Hopelessly goofy and clumsy in The Nice Guys (don't let this guy into a bathroom stall alone) and sporting his trademark charm and suaveness in La La Land- Gosling is the man to beat in Hollywood right now. Few actors have a presence like this man and can hold our attention no matter what the film. Gosling is a man who likes to find ways to keep surprising us- keep it going buddy.
Female Star of the Year: Amy Adams
November was very much Amy Adams month and she gave us a big one-two combo. Both roles showed what sets her apart from other performers in this game and Adams gave two very different performances. Smart and assured in Arrival and filled with regrets and doubt in Nocturnal Animals. Adams is a true chameleon in every sense of the word- hopefully, 2017 will finally see her rewarded at awards season.
Best Director: Tom Ford- Nocturnal Animals
After impressing us with A Single Man, many wondered if there would be a Tom Ford follow up. With Nocturnal Animal's he gave us one hell of a return and his fascination with the ugly side of life was impossible to look away from. Visually jarring and heart racing, Ford has emerged from the fashion world as a major talent behind the lens. You can only wonder what his next opening scene will feature? A one-armed man directing traffic on rollerskates?
Scene of the Year: Arrival- First Contact
Gripping from even before Louise Banks (Adam Adams) and Ian Donnelly enter the spaceship, going into the unknown made audiences eyes bulge. Making full use of Johann Johansson's blasting soundtrack, Denis Villeneuve is sending us deep into the heart of darkness. What lies beyond the white screen? And will they get out of this ordeal intact?
Winner of the Viewers Choice at the 2016 Toronto Film Festival, La La Land is a delightful and spellbinding musical romance. Boosted by Oscar-worthy turns by charming stars Ryan Gosling and Emma Stone, Damien Chazzelle's follow up to Whiplash is one that is immensely cute and sweet. At the centre is a heart-grabbing story of love and following your dreams and the things that sometimes get in the way. Currently, this picture is a deserved front runner for awards glory.
Set over four seasons, both Mia (Emma Stone) and Seb (Ryan Gosling) are a pair who are both chasing their dreams. Drawn together by their passion and commitment to achieving glory, the pair starts a relationship that seems written in the stars. As time goes by, they find little things beginning to form a wedge between them. To fully realize their goals, they have to consider what role each of them plays in this relationship?
Start with a glorious and peppy musical sequence about dreams set on the LA highway, La La Land's charm factor is made apparent early on. It will take a while for audiences to really get to grips with the feel of the picture because it feels like an homage to musicals, things are very different from what they seem. Meeting Mia and Seb has the cute factor dialed up to 11, she sits distracted reading a script in a traffic jam while he honks at her from behind. Speeding past her, she flips him the bird and sees him as a merely another jerk she has to deal with. Fate seems to bring them together throughout as Seb's beautiful piano playing draws Mia into a random bar, she then finds him struggling to make ends meet by playing keyboard in an 80's cover band, where he takes offense her requesting A Flock of Seagulls song, 'I Ran' as he is a 'serious musician'
Their difference in life are excellently defined by Chazzelle, Mia is a girl seeking big screen glory and having to go through a humiliating series of auditions. Each one seems to be more disheartening as casting assistants interrupt her in the middle of lines and some merely dismiss her as soon as she walks in. Seb is faring little better and is a man who by his own admission is playing rope-a-dope with his future. Fired from his job at a restaurant due to the manager (J.K Simmons) being angered at him playing freestyle jazz rather bland Christmas jingles on his piano. Out of the two Seb is the harder to warm to due to his perfectionist tendencies and his steadfast love to the purity of jazz. He's a disillusioned and at times unpleasant soul trying to understand the reason he was put on this earth. The middle section from Spring to Summer is where hearts will soar the most as the pair embarks on a whirlwind romance. One dance number set in Los Angeles's iconic Griffith Observatory is so hypnotic it will having you dancing you home.
Finally their dreams are set to take flight as Seb begins to realize his dreams of owning a jazz seem possible and Mia opens her one-woman play. As much as it pains us, obvious gaps in this relationship begin to form as Seb takes a paying gig in a successful band run by his old friend Keith (John Legend). Their frustrations come to fruition during a well-staged scene where Seb surprises her with a surprise pot roast dinner, only for it to descend into an angry and bitter argument where all their fears, doubts, and regrets are laid bare. Committing to their dreams is the very thing that could potentially rip them apart. Chazelle never once assures us things will end happily and as Seb seems content in selling himself out, Mia's one woman show is very a Hail Mary pass that could either sink or swim her. Touching and emotional throughout, this pair is one that ultimately wants to do good, but the realization of what dreams involve is heartbreaking.
Gosling and Stone's magnetic chemistry is what really makes this picture tick and their third outing together is their strongest yet. Stone, in particular, is wonderful and her big expressive eyes speak volumes about the characters emotions. Possessing a wonderful singing voice, Stone is not the first name that comes to mind when you think of musical pictures, but nonetheless, she carries off Mia well and is very much the sweet center of this picture. Gosling is also a revelation as Seb and his sarcastic wit shines brightly throughout. What perhaps the strongest element of his game is how Gosling handles Seb's inability to fully express his emotions and when faced with having confront his real emotions he simply gives off an insulting remark. Together the pair light up the screen and are perhaps the best double act we will have the pleasure of viewing this award season.
La La Land is a picture that is in all honestly a really beautiful thing. Some may find this type of work too cutesy and annoying while for some it will make their spirits fly like an eagle. One thing is for sure, Damien Chazelle has made something special.
You always forget just what a great action comedy writer Shane Black really is. Like Kiss, Kiss, Bang, Bang before it,The Nice Guys is an effort that successfully blends the buddy comedy element with blistering action. Crowe and Gosling make for a perfect of fear and loathing and their contrasting personas light up Black movie. A witty and sharp script by Black and co-writer Bagarozzi takes us into a dark yet hilarious 1978.
Holland March (Ryan Gosling) is a drunk and washed-up private eye who is currently attempting to look after his teenage daughter Holly (Angourie Rice). Jackson Healy is a man who is paid to beat up guys to stay away from people. Together the pair becomes intertwined over a girl named Amelia (Margaret Qualley) and soon finds themselves knee deep in a conspiracy. Who is behind these seemingly never ending series of events? And how just do they keep getting mixed up?
The principle strength of The Nice Guys seems for the big difference between the two leads. March is a guy whose moral compass is flying in all directions. Bored of life and fed up chasing scumbags he is forever drunk and borderline neglecting his child. Healy is a man who is angry with how the world has become and prefers using his fists to a kind word. Together this is a pair that should avoid each other at all costs. Both are rough and unpolished characters, refreshing although the edges are never quite smoothed over, they still appeal to us on a broad scale. They cross each others paths early when Amelia pays off Healy to beat up whoever has been asking questions about her. Holly is the catalyst for the pair making nice and her sarcastic smarts are a never ending source of use.
When they are attempting to figure how the death of pornstar Misty Mountains (Murielle Telio) fits into Amelia's disappearance, they soon suspect there is a far bigger picture. Black gives the story a heavy ambiguity and each red herring such as a blue-faced man or Kim Basinger's justice department official could be all or nothing. Conspiracies, goons, and unexpected twists always come out of left field. Healy and March are always one step forward but then pegged back another ten. Constantly bewildered at this series of unfortunate events Black is also unafraid to be critical of the hidden corruption that late 70's brought, in particular, the Detroit automotive industry. Although the story perhaps extends its reach at times, it still runs like clockwork.
For all the excellence of this picture, Black does at time feel like he has added on things unnecessarily. The third act addition of villain John Boy (Matt Bomer) feels tacked on and lacks any real threat. The final showdown at the LA Autoshow does sport some fine physical comedy but lacks the hoped punch. When given such a fine display we are compelled to forgive this oversight. Although he has ruled the scriptwriting world ever since his 80s glory, Black's outings in the director's chair have been few and far between. The Nice Guysis a picture that reminds you of his prowess (oh and the billion dollars he brought Iron Man 3 too). Few have the eye for robust laughs as this man which makes us hope that he returns soon.
Gosling and Crowe are a dream together and their vastly different characters are a riot throughout. Crowe, in particular, gives his strongest performance in some time. A hulking and thumping presence his Jackson Healy is a grumpily funny man.He is also able to give a sense of street smarts which helps them avoid trouble, Gosling is a revelation as the impulsive and drunken March and shows a good eye for physical comedy, especially during his botched stand-off in the men's room. His queasiness at the sight of blood is particularly hilarious, anyone who thought Gosling couldn't do funny please hang your head. Angourie Rice is also a fine young talent as March's witty and bright daughter Holly. Possessing a fine sense of humour to swallow her father's constant misjudgement, she so nearly steals the picture from under her A-list co-stars.
The Nice Guys is a magnificent return to the big screen for Shane Black and will be a high candidate for the funniest film you will see this summer. Just remember when you pay for a job, make sure there are no loose ends.
