Tribe Called Quest: Review of The Lost City of Z

The Lost City of Z

Director: James Gray

By Alex Watson

Director James Gray takes a step into a different world with The Lost City of Z. Echoing the feel of Werner Herzog's 'Aguirre: The Wrath of God', Gray's take on British explorer Percy Fawcett's ill-fated Amazonian expedition firmly captures the obsession of finding the impossible. The jungle is presented as the ultimate danger and the haunting ambience that surrounds it never ceases to be nervewracking.

Major Percy Fawcett (Charlie Hunnam) is a British soldier seconded to the Royal Geographic Society. Sent to Bolivia on a mapping expedition, Fawcett finds evidence of what he believes to be a lost civilisation. Determined to make himself stand out from his contemporaries, Fawcett makes several trips to the Amazon jungle with running mate Costin (Robert Pattinson). Life and several unfortunate circumstances always seem to get in the way.

The Lost City of Z is at its strongest whenever Fawcett crosses over into the jungle. Gray masterfully builds up the suspense to unbearable levels. Will there be an attack by native tribes who hide in the bushes? Or will any number of wild beasts come calling? Fawcett is presented as a man who is frowned upon by his superiors. His 'unfortunate choice of ancestors' has marked him as tarnished goods despite being a dutiful and accomplished soldier. Chosen to 'referee' a mapping quest between Brazil and Bolivia- this assignment is as much about reclaiming his families honour as it is about advancement. How Fawcett keeps his composure in the jungle is fascinating. When threatened by heat, bugs, tribes and in-fighting between other men, he still commands with authority.

While on land, this picture does occasionally stray from the path. The side plot of Fawcett and his devoted wife Nina (Sienna Miller) feels drastically under-explored. Also, there is an over lengthy diversion into his WW1 service. What Gray does best is showing the burning desire the man had to find what others dismissed. The very notion of there being a civilisation older than our own is mocked and scorned by other RGS members. Each time he ventures back into the jungle, we yearn for him to find what he seeks. However, the lavish green of the Amazon seems to be at odds with him constantly. Each time he comes across a new band of savages or a tribe of cannibals, Percy has only his wits to keep him alive.

Although it is a well-paced movie, you can't help feeling that The Lost City of Z is perhaps longer than it needs to be. James Gray seems determined to flesh out as much story as he can. While there are some fine moments, such as the later scenes with adult son Jack (Tom Holland), you can sense Gray is desperately trying to fill time. As a person, Fawcett is compelling and his bravery such as facing gas attacks in no man's land or ducking for cover from tribal arrows is always astounding. Unfortunately, Gray's script never goes deeper than it needs to and we don't get a full understanding of the man himself. Although his honour is never in question, at points we wish he hadn't taken one final risk.

Charlie Hunnam gives a performance that is very two handed. While in the jungle, his presence is magnificent and he shows the cool head that Fawcett would have needed. Back at home, he doesn't quite convince with the film's more emotionally demanding material. An unlikely choice given his lack of physical resemblance, Hunnam does give us a glimpse of dramatic potential. Sadly the always watchable Sienna Miller is left on sidelines as wife Nina. A pillar of strength to her family, her effect on the movie is only minimal. Robert Pattinson again impresses post-Twilight with solid support as faithful companion Costin.

The Lost City of Z is a picture that goes into the very heart of darkness. Percy Fawcett was a man whose bravery and dedication really marked him out as the last great explorer.

Ivory Tower: Review of High Rise

High Rise

Director: Ben Wheatley

By Alex Watson

Although the anger and the socially divided filled world of JG Ballard still dazzle on screen, Ben Wheatley cannot make High Rise the memorable effort we desire. His depiction of a high rise building divided by class does fester with a wonderful malevolence but feels confused as to what approach he really desires? The wonderful ugly/beautiful cinematography of Laurie Rose both arrests and horrifies the eyes and this one world we are sucked into with no escape in sight.

Dr. Robert Laing (Tom Hiddleston) has recently moved into a luxurious high rise complex where its inhabitants are buying a piece of the future. He makes fast acquaintances with the residences such as the flirtatious Charlotte (Sienna Miller), the fiery Wilder (Luke Evans) and the wealthy Anthony Royal (Jeremy Irons). Soon it becomes apparent there is a growing tension within the building and soon a violence threats to break apart this pristine society.

While High Rise, for the most part, is a well acted and immaculately produced work, it is not able to move into classic status. Wheatley is faithful to Ballard's and takes us into a world which is shiny and new on the surface but rotten to the core underneath. Foreseeing all the greed that was to come during the Thatcher era of Britain, this building gives us a group of well to do individuals obsessed with status right down to the car they drive. The way that Laurie Rose shoots this dazzles us early on and leaves a disturbing ambience which becomes the stuff of nightmares. In particular, a bizarre sequence when Laing is booted out of a fancy 18th-century party hosted by Royal.

Early on it becomes apparent this building has a social hierarchy that is causing a few issues. Power outages, garbage chutes blocked are just a few of the triggers that lead men like Wilder is cause a fuss. While Royal and his snobby wife Ann (Keeley Hawes) look down on the residence from their penthouse, the whole places is shaking with a barely contained anger. When it erupts the images are so striking it is impossible to tear our eyes away. Moment simple moments such as Evans crashing a pool party or a paint covered Hiddleston are so beautifully conveyed it like a hypnotizing nightmare. This might interrupt the flow of the story, but even if a Wheatley film isn't complete it always keeps us watching.

High Rise's story is the real source of the problem because while the novel is still relevant today, Wheatley and co-worker Amy Jump are unable to give it a smooth transfer to the big screen. The story never quite grasp its premise and moving into thriller territory knocks it off balance. The idea that people are buying the future but cannot shake their lower past is fascinating and the eventual decay of social order is excellently presented. However, the plot has a tendency is walk all over the place and never firmly snaps itself into place. Those who have read Ballard's novel will agree this is a difficult novel to pace and Wheatley deserves credit for taking this far. But no end of visual feasts can distract this picture for feeling slightly lost.

Tom Hiddleston does prove to be a perfect choice to bolster this tough piece and his slick yet troubled Dr. Laing is the perfect face for eventual destruction. Using all the charm we have seen in his priors like The Night Manager or Crimson Peak, Hiddleston is a morally complex man who lives the high life but fears to do so. Sienna Miller's unrepentant mistress is a sly and attractive look at the blaze view of corruption. Luke Evans is the real star of the piece and hot-tempered Wilder is a thumping presence. Wonderfully capturing the frustrations of the people in the floors below, Evans is the very of what will come to be.

Ben Wheatley's biggest budget piece by far, he does manage to pull off a tough act but those hoping for one of the great movies of the year might need to lower expectations. High Rise is a luscious bad dream which will make the descent into mayhem look glorious.

War is a Drug: Review of American Sniper

American Sniper

Director: Clint Eastwood

By Alex Watson

The life of US Navy SEAL Chief Petty Officer Chris Kyle was one like no other- in four tours of duty in Iraq he amassed a record 161 confirmed kills and became a legend within the ranks. His reputation was so notable that he was dubbed 'The Devil Of Ramadi' and had a high bounty put on his head by the enemy! Clint Eastwood this week brings his tale to life in American Sniper. Recently this picture earned over six Oscar nominations and it appears this will one of Clint's finest offerings in some time.

Chris Kyle (Bradley Cooper) is a man who has patriotically enlisted as a Navy SEAL, this film tells the story of his marriage to his wife Taya (Sienna Miller) his notorious but decorated tours of duty in the Iraq war where became a legend on both sides of the line. But also it documents his breakdown after returning home from duty and his struggle to adjust back to civilian life.

After some rather indifferent efforts of late, American Sniper is a glorious return to form for Clint Eastwood. The story of Kyle feels tailor made for his direction and through this a hard hitting psychological feel is brought through. From an early point of combat, the pressures and trauma's that come with each kill are firmly printed. In his first kill, Chris has to judge whether or not to kill a mother and son team that may or not be carrying explosives- Eastwood here cranks up the tension to almost unbearable levels.

From an early age in his tough Texas upbringing, Kyle is taught by his father to be tough in the world and this is something he will forever carry with him. Impressively Kyle is not made out to be a hero and Eastwood never seeks to glorify his actions. The burden of guilt for each life that he fails to save wears heavily on his mental state. His relationship with Taya is one that although under explored, adds a great source of human emotion and strain. Each time her beloved man returns home, he is a shadow his former self and his eventually breakdown threatens to push things over overboard.

The pressure that comes with his job is brought forward in such a measured pace that it reflects the ice cold nerves that Kyle held. Each time he picks off insurgents on rooftops or on the street, his desired to protect his men from the enemy is clear cut. One scene sees him taking a call from home when a lone boy with an RPG enters his gun sight! But the one problem is that he cannot break free of the thrill of combat where you can feel "the lightning in your bones" as a result of his once happy home life will suffer greatly.

Kyle's mission to single handedly engage the infamous drill killing crime lord known as 'The Butcher' gives the movie a thrilling centre piece. Each time he evades his grasp you can feel his desire increase. One of the movie's most thrilling scenes will a one on one show down between Kyle and the equally skilled sniper 'Mustafa' where his over eagerness will result in his team by out numbered by insurgents in the midst of a sandstorm!

Bradley Cooper expertly rings in what is undoubtedly his strongest performance so far in his career. As Chris Kyle he is a simple family man who loves his country, but through Cooper's excellent range of intensity he brings forward the complexity to his character and his addiction to war and the thrill that comes with it. Cooper is fast becoming one of the most able actors in Hollywood and under Eastwood he has earned his Best Actor nomination at this year's Oscars.

American Sniper is not only one of Clint Eastwood's strongest 21st century efforts, but already one of this year's most accomplished and finest pieces of work. It may not have its name under the envelopes at the main prize events, but it is still an impassioned and genuine movie not only about war but about a man with an incredible tale.