The Horrors of War: Review of Son of Saul

Son of Saul

Director: Laszlo Nemes

By Alex Watson

In what is undoubtedly 2015 most stunning debut, Laszlo Nemes Son of Saul is possibly the most the harrowing experience you will have this year. Winner of the Grand Prix at the Cannes Film Festival, this picture contain a raw emotion that is unrivaled. Its theme of atonement mixed with an aura of evil surrounding the Auschwitz camp will leave its audience stunned. Nemes emerges as the new star of European cinema but be warned this picture is not the faint hearted.

Saul Auslander (Geza Rohrig) works as part of the Sonderkommando in Auschwitz that assists in burning the dead. One day, he comes across the body of a young boy that he believes to be his son. Filled with remorse at being able to provide for him in the real world, Saul goes to great lengths to secure his son the traditional Jewish burial. However, when the camp members learn of their own potential extermination, his plan is put into jeopardy.

Nemes provides Son of Saul with a horrifying opening which gives us a first-hand view of the horrors people cannot speak of. Jewish people are stripped of their clothing and marched towards a gas chamber. Their pain filled cries haunt the air so thickly you just want to look away, all the while the Nazi officers make false assurances of their safety. Seeing Saul impassive face leaning against the chamber door is nothing short of chilling. Among the dead, he finds the body of his son and steals it away so he can find a rabbi to perform a burial. His task is one that is seen as near impossible, but Saul is determined and uses any number of brides, threats and tasks to carry this out.

There is a tense against the clock feel as the allied armies close in on Auschwitz. Saul's position within the Sonderkommando gives him limited privileges in exchange for performing these horrendous tasks and getting rid of the ashes. Through this unit, there is a planned uprising which could well derail his plan. Whispers also surround the camp of their own potential execution since the commander is asking for a list of 70 men who are not needed. Nemes succeeds in drawing his audience in close so we can be witness to this conspiracy. Mainly his shots are blurred and out of frame, which powerfully coincides with the blurred lines of history. Some memories are not meant to be seen by the human eye.

Throughout Son of Saul, Nemes focuses mainly on the haunted face of Saul. He is an emotionless figure that has been stunned into silence and fills the screen with a quiet yet intense consternation. On the surface, Saul appears resigned to his fate as a non-survivor, but inside he is filled with a fierce desire. One sequence, sees him showing a variety of rarely seen emotions when confronting a possible rabbi while dumping ashes, which quickly turns into a possible suicide attempt. Saul will see his son buried or die trying. During a chest tightening finale where it ambiguously appears the uprising may have finally come, Nemes gives us what is possibly the most heartbreaking final shot this year.

Geza Rohrig is a revelation as Saul and through his haunted and conflicted face, he is able to hold the screen with force. Nemes needed the right man to be able to project the horrors and unspeakable evil of Auschwitz, Rohrig has been that man. Skillfully is able to balance Saul's yearning to atone for the boy he was never able to care for along with his need to survive by any means necessary. Rohrig deserves awards consideration because you will not see a more committed performance in 2015.

Tragically Son of Saul came to too late to make this year's Top 10 list, but rest assured, it would be top 3 material. Nemes' picture is a movie about courage and bravery while among the worst human atrocities. This picture is the best foreign offering of this year.

The Skin I Live In: Review of The Danish Girl

The Danish Girl

Director: Tom Hooper

By Alex Watson

A pair of electric performances from Eddie Redmayne and Alicia Vikander helps keep Tom Hooper's The Danish Girl alive. Although this is likely to secure both leads awards nominations, you can't help but feel this isn't a complete effort. The tale of Lili Elbe is one that is very humane and touching, but the script from Lucinda Coxon doesn't quite sparkle like we hoped. Hooper does well to give us a  powerful look at a person who risked it all to live comfortably in their own skin.

Einar Wegener (Eddie Redmayne) is a success landscape artist living with his wife Gerda (Alicia Vikander) in Copenhagen. Together the pair lives a free-spirited and loving existence as they both paint. When her friend Ulla (Amber Heard) cannot make a sitting, Gerda asks Einar to stand in for her. What begins as an experiment turn into a life-changing experience for both. Soon Einar sheds his own existence and becomes a woman called Lili. From this, he will campaign to become who he was born to be.

The early stages of The Danish Girl have a fine playfulness to them, Einar at first jokingly puts on some tights and ballet shoes. Before long, it becomes like a spiritual awakening and watching him putting on a nurse dress for the first time is like watching him be reunited with an old lover. Gerda initially indulges this fantasy, one scene seems them dressing Einar up and taking him to a ball. His transformation into Lili is where the movie crosses over and what begins as a risque adventure soon becomes strained. Watching her husband kissing the smitten Henrik (Ben Whishaw) is like watch her life fracture before her eyes. "You're different from most girls" Henrik whispers, the irony hanging painfully on the air.

Centrally the inner struggle for Einar to live as himself and Lili is the main firing pin for the movie. Lili is now part of the marriage and Hooper invests equal time in examining the reactions from both sides. Einar tries to effectively get himself into the role, which includes this year's most interesting nude scene (think Ted Levine in Silence of the Lambs). Gerde, however, both flounders and embraces this new side of him. "I want to speak to my husband" she insists when dealing with a fully customed Lili. Rather than pushing her away from us, Hooper highlights her inner strength and understand of the tricky card she has been dealt. Wisely we are given a key supporting presence in Hans Axgil (Matthias Schoenaerts), a former friend/lover of Einar who sparks a mutual attraction for both leads. Hans is the shoulder that bears the burden of the heavier third act.

Despite The Danish Girl being an excellently acted and beautifully made picture, you cannot help but feel there is a something missing. Perhaps it is the rather wayward middle act where the pair heads to Paris? During this sequence, there is perhaps a little too much of Einar's struggle. Gerde emerges as the real lead during this point, but although her feelings for Hans conflict with her love for Lili we get the impression that Hooper is filling time. Although the film struggles to keep up with the fine acting, it does give way to one of the most moving endings. Einar desire to become Lili is realized when he meets a doctor about sex reassignment. Stating he believes his is truly a woman, Gerde responds "I believe it too" Love is proven to survive change because the person underneath counts the most.

Eddie Redmayne gives the boldest and transformative role of his career. Firmly capturing a conflicted soul born in the wrong skin, Redmayne's plays almost a dual role. As Einar he is the man yearning for a difference, Lili is the one who embraces it and becomes his real voice. An assured nominee, Redmayne is a man at the peak of his talents. Alicia Vikander comes away as the real star of the picture. A strong willed and energetic presence, she stubbornly refuses to fall back into the loving wife role. Vikander carries the film where Redmayne cannot and effortlessly comes across as the emotional core of Hooper's film.

Outside of the two outstanding leads, The Danish Girl may not be the awards contender many predicted. This story is still a potent reminder of the difficulty of living a different life and the strength it will take to make a big change.

2015: A Year in Review

It's been another fine year for film on Closer to the Edge which included a Rocky resurrection, Tom Cruise proving he is still top of his game in the action genre and Shakespeare being beautiful. The Fantastic Four boomed yet again and was even slated by its director and Terminator: Genisys taught us to basically ignore everything we learned. Despite these blips it was an otherwise great year, here are the highlights.

Top Ten Films of 2015

1. Sicario (CAN/USA Dir: Denis Villeneuve): Tension personified from the very opening frame, Denis Villeneuve brought us 2015's most pulsating and heart-stopping thriller. Aided by Roger Deakin's stunning photograph of barren landscapes, Villeneuve sucks his audience into the dark underbelly of the drug cartel world. The lines between law and order are completely blurred and learn that in the place, there is no coming down on the right side. With star turns from Emily Blunt, Josh Brolin, and a quietly threatening Benecio Del Toro, this picture is deserved of the top slot. Read Review. 
2. Mad Max: Fury Road (AUS/USA Dir: George Miller): After spending years in development hell, the wait for The Road Warrior's return was worth every minute. The tale of there and back again might have some on the fence, but when you look at the sheer adrenaline and pure thrills from each action sequence- they pay for the ticket price alone. Tom Hardy was a worthy replacement for Mel Gibson, but as Furiosa, this was Charlize Theron picture. Will there be a fifth installment for Max? At this point, we all hope so. Read Review
3. It Follows (USA Dir: David Robert Mitchell) Sporting one of cinema's most clever story ideas and an excellent advertising campaign, David Robert Mitchell delivered the best horror film in years. Its premise of a person being infected with an unknown entity through sex and having to pass it on to survive was chilling. Even more so was seeing star Maika Monroe being pursued by a variety of creepy individuals. The fear of the unknown ensured a tense ride was to follow and both Monroe and Mitchell emerged as real stars. This also taught you the think twice about who you hook up with! Read Review 
4. Amy (UK Dir Asif Kapadia): After delivering big with Senna, director Asif Kapadia did it again with his homage to one of music's lost talents. Conducting over 100 hours of interviews with Amy Winehouse's nearest and dearest, he succeeded in giving another portrait of the woman we saw stumbled about. Showing her a young woman who loved her music but was lead astray by those closest to her was heartbreaking. By the film's climax, you will have wished that she had stayed away from mulish father Mitch. Watcher her shambolic final gig in Belgrade is certain to bring a tear. Read Review.
5. Room (CAN/EIRE Dir Lenny Abrahamson): Winner of the big prize at the Toronto Film Festival, this picture ensured that Brie Larson has finally arrived in the big time. Adapting Emma Donaghue's beloved novel was never going to be easy, Lenny Abrahamson however, was the man for the task. Larson along with stunning newcomer Jacob Tremblay stole audience hearts at the mother/son duo. This tale of two people confined to a room was a rendering one, the movie's second half in outside world was a surreal but life changing one. Read Review.
6. Red Army (USA: Dir: Gabe Polsky): Reflecting one of hockey's greatest teams was a brutal yet entertaining one. Slava Fetisov made for a humorous yet pained commentator, the former Soviet skipper loved the game but hated the pressure. Under ruthless and widely loathed coach Viktor Tikhonov, players were constantly pushed to the limit for glory. The scene of watching this team dominate the ice with skills and precision were mesmerizing. Defecting to the USA however, brought a darker cloud over the movie as players had to deal with all whole new hostile society. Read review. 
7. Carol (USA Dir: Todd Haynes): This year's greatest and most forbidden love story, Todd Haynes has given us two award-worthy performances from Cate Blanchett and Rooney Mara. Set against the backdrop of the repressed 1950's this love is full of pained longing and unspoken words. There was more to this picture than two ladies in love and Haynes gave us a realistic impression of what people go through when picking up the pieces in life and having to forge their own identity. Rich in both story and characters, Haynes delivered one of his finest in years. Read Review.
8. Creed (USA Dir Ryan Coogler): Resurrecting the Rocky franchise was one of 2015 most pleasing surprises. Reuniting Fruitvale Station's Ryan Coogler and Michael B Jordan resulted in a stunning one-two punch. New Creed offspring Donnie has paved the way for an excellent new side project. A hungry and determined presence, he has our attention from the outset and Coogler emerges as a real talent behind the lens during the fight sequences. Sylvester Stallone was the real star and showed us the  Rocky from old and how good he can be out of the ring. Bring on the next episode. Read Review.
9. The Martian (USA Dir: Ridley Scott): Back in the sci-fi saddle again, Ridley Scott delivered his most enjoyable recent effort. Expertly walking the line between drama and comedy, this tale of Matt Damon stranded on Mars never fails to entertain. Character Mark Watney makes a funny yet adaptable lead and his constant use of brains is what keeps things afloat. What could have possibly been Interstellar type heaviness is dealt with the needed light touch thanks to the smart writing of Drew Goddard and a multi-talented cast. Read Review.
10. Wild Tales (ARG Dir: Damian Szifron): Possibly this year's strongest foreign film offering, Damian Szifron's six tales of revenge were a unique mix. An opening sequence to remember as all passengers of a plane to their horror realizes they all know the same man. 'The Bomb' sequence proved the most as Ricardo Darin takes out his frustrations out on a shady towing company. The most offbeat black comedy we will likely see in a long time, it would be fascinating to see Szifron get his hands on a Hollywood picture. Read Review 

Best of The Rest 

11. Macbeth (UK Dir: Justin Kurzel) A barnstorming, violent and hypnotic adaptation, Kurzel breathes new life into Shakespeare. With great lead turns by Michael Fassbender and Marion Cotillard, these two give Macbeth and Lady a wonderful human touch amidst the madness. DP Adam Arkapaw delivers some of 2015 most beautiful cinematography.

12. Crimson Peak (USA Dir Guillermo Del Toro): Mexican maestro Guillermo Del Toro delivered his strongest American offering yet. Suitably creepy along with being hauntingly lovely, Mia Wasikowska had her hands full with any number of vengeful spirits. Let's not forget the weird brother and sister combo of Tom Hiddleston and Jessica Chastain either.

13. Goodnight Mommy (AT Dir: Veronica Franz & Severin Fiala): Any person who has ever considered having children may want to reconsider. The eerie ambiance of the lakeside house is disturbing from the get-go as two twins believe their heavily bandaged mother (Susanne Wurst) is an imposter. A growing malice takes over in the movie's second half and things take a nasty turn. 

14. Ex Machina (UK Dir: Alex Garland): Writer Alex Garland showed his directing credentials and gave us a thought provoking film on what is means to be human. Three-way tug of war between Domnhall Gleason and reclusive inventor Oscar Isaac for the affection of lady AI Ava was scintillating. With a star turn from Alicia Vikander, this movie proved a rare beast. 

15. Brooklyn (EIRE/CAN Dir: John Crowley): All movie tipping its hat to anyone who has ever moved to a strange new land, Crowley's film was a delight. Saoirse Ronan shone brightly as an Irish girl lost in homesickness in 1950's New York. Fitting into a new society is never easy, but sometimes life teaches us strangers are the best cure.

Male Star of 2015: Michael Fassbender

By far this year's stand-out figure, Fassbender has captured the screen with force in each of his efforts. Bold and stubborn in Steve Jobs, mysterious in Slow West and a mad wonder as Macbeth. Fassbender is now officially among the finest talents of today.

Female Star of 2015: Alicia Vikander

The Swedish beauty has been an effortlessly gracefully presence in each of her movies in 2015. An ambiguous but lovely robot in Ex Machina, a butt kicking vixen in The Man From UNCLE and now Oscar-tipped for the Danish Girl. This may have been a career year, but Vikander hasn't even got started.

Best Director: David Robert Mitchell: It Follows

Directing this year's most original work, Mitchell delivered a movie with such raw scares that it made walking down the road impossible. Showing a real eye for the fears of real people along with the spookiness of the unknown, Mitchell is a director with an exciting future ahead. 

Scene of the Year: Macbeth: Battle Scene

Justin Kurzel showed that battle sequences as almost be as entrancing as they can be savage. Cutting in and out of this slo-mo scene is simply glorious and the power of Adam Arkapaw's work is brought forward.

https://www.youtube.com/watch?v=puV69CWPfP8

The Force Will Be With You Always: Review of Star Wars: The Force Awakens

Star Wars: The Force Awakens

Director: JJ Abrams

By Alex Watson

You cannot express in words just how great it feels for Star Wars to be back on the big screen. JJ Abrams has brought the Lucas universe to life again in Star Wars: The Force Awakens. Sporting the lightsaber battles and the powerful war between the force and the dark side, we have a reason to believe again. Giving us a good selection of our old and loved favourites mixed in with an interesting new batch of players, Abrams ensures there is a new lifeblood to carry things forward.

30 years after the collapse of the Empire, Luke Skywalker (Mark Hammill) has gone missing and has become like a myth spread among the planets. Finn (John Boyega) is a Stormtrooper in the newly assembled First Order who is having a conflict within himself. Rey (Daisy Ridley) is a scavenger on the desert planet Jaaku while Poe Dameron (Oscar Isaac) is the top pilot in the Resistance army led by General Leia Organa (Carrie Fisher). Together each of these characters will come face to face with Han Solo (Harrison Ford) and be witness to the uprising of the powerful First Order Jedi Kylo Ren (Adam Driver).

From the first frame, Star Wars: The Force Awakens simmers into life and the ride from there on is the most fun we have had in ages. Beginning with the First Order forces arriving on Jaaku, we are given a potent introduction to the dark side's new favourite, Kylo Ren. A forceful and lurking threat, Ren is very much a disciple to Vader who has not only been seduced by the Dark Side but absolutely loves it. As a villain though he is possibly one of the most impressive ones that the franchise has produced. Sporting a cold-blooded malice without equal, we get the sense that this one conflicted kid has firmly buried his old past. The new recruits are not given as much depth as we may have liked, but there is room to work with. During Finn's first battle, his horror behind the mask is felt immediately as he reluctantly commits atrocities. Finn is the best-developed lead of the lot and having being groomed as FN-1287 by the Order since birth, he is keen to break free.

Rey comes off less well in this piece and despite being a tough and capable female (along with skillfully piloting the Falcon), there isn't enough depth for this installment. Dameron with limited screen time comes across with an effortless swagger that remind us of a young Han Solo with an X-Wing. The taste may feel undercooked, but give it another installment these three may just transpire into something special. Having Han and Chewie back together again is something very special indeed, "Chewie, we're home!" smiles Han as he reboards his beloved ship. In this episode, the old smuggler is a shadow of his old self and still clings to his old reputation. His wisdom, however, is unbeatable and he becomes almost a surrogate father to abandoned child Rey. Luke is more like a ghost figure than man in Force Awakens and there are Alec Guinness-like echoes all around. Leia thankfully has formed into the leader we always wanted. She is scarred from her constant warring both at home and the past (spoilers to be withheld).

Despite blips in storytelling, Star Wars: The Force Awakens is still a fine piece of work. Abrams never fully explains the intentions of the First Order. They are big and evil and appear to mean business but just what does Grand Master Snoke (Andy Serkis) want? We are given an interesting duel for power between Ren and the sneertastic General Hux (Domnhall Gleason). Both men are wanting different kinds of power which leads to a mini civil war. Their ruthless streak, though, makes them the perfect heir to the Empire. Seeing them destroy several planets in 'one swift stroke' is a chilling prospect. There are some finer things lead that need to be ironed out, such as nailing a great lightsaber finale but there is a new hope surrounding this franchise. Best of all, there is no Jar Jar in sight fans.

John Boyega, Daisy Ridley and Oscar Isaac all prove they belong in this universe with a trio of decent performances. Boyega in particular in able to summon the courage and charm that Attack The Block promised us. Harrison Ford is the real tour de force in this piece and you forget just how well Han Solo fits him. Sweeping in without missing a beat, it feels like the old pirate never left us. Top honours, however, go to Adam Driver. Firmly filling the void that Vader left us, Kylo Ren is the most intriguing the Jedi have had to deal with in some time. A gangly menace desperate to escape his one loving past, Ren is very much a product of the Dark Side. Driver is able to give us a bad guy who doesn't just frighten us, but makes the film sag whenever he is off screen. The groundwork has been laid, now the cast needs to do the rest.

Finally, we get the 21st century Star Wars we have always wanted. Star Wars: The Force Awakens is not only a throwback to the original trilogy, but it is the start of something special. Disney might be taking the reigns now, but the force still lives on.

The Scottish Play: Review of Macbeth

Macbeth

Director: Justin Kurzel

By Alex Watson

Justin Kurzel's adaptation of Macbeth is one that belongs among the very elite versions of Shakespeare's work! Boasting a hypnotic and savage beauty throughout, Kurzel bewitches his audience from the very first frame. After his absorbing debut, Snowtown Kurzel promised us great things. His own version of Macbeth is the most emotionally wrought among many but he also expertly mixes in the disturbing aura of evil that surrounds events. Shakespeare has never looked so tragically beautiful.

After winning a key battle against an uprising of King Duncan (David Thewlis), Macbeth (Michael Fassbender) is given a prophecy by three witches. In this, they tell him that he shall soon be made King of Scotland. Obsessed with ascending to the top, the brave warrior soon descends into murder and treachery. All the while aided by his scheming wife, Lady Macbeth (Marion Cotillard).

Many noteworthy directors have taken a stab at Macbeth including Polanski and Kurosawa. In contrast, their adaptations didn't come close to capturing the harsh and brutal feel that this work brings. Opening on a stunning and arresting opening battle sequence, Kurzel grabs our attention immediately. Beautifully shot by Adam Arkapaw, his photography gives a disturbing ambiance to medieval Scotland. Surrounded by blood red skies, swirling mists and battlefield still sizzling with the souls of the dead, Arkapaw brings forward a deadly malice. Kurzel along with screenwriting duo Jacob Koskoff, Michael Leslie, and Todd Louiso breathe new life in this heavily adapted drama.

Deviating from the page, this is possibly the first adaptation that attempts to humanize the behaviors of the Macbeth's. The pair is consumed by grief over the death of their child, in the opening scene we see a funeral pyre on the moors. Macbeth's bid for power is nothing more than an attempt to crush the despair and fill the empty space. He lusts over control of his destiny and in doing so he loses sight of morality and consequences. Murdering Duncan gains him the ultimate prize, but in doing so it sets him along a dangerous path. Kurzel shows a deft touch when charting the new King's heightened suspicions and eventual madness. He resists going full blown, but the results are nonetheless shocking. Watching him murder the wife and children of MacDuff (Sean Harris) is a chilling sight where the point of no return in reach.

Kurzel and Arkapaw's work on Macbeth comes alive during sintalating third act where Birnam Wood comes to Dunsinane. Watching a battle during the tangerine glow of a firestorm is cinematic ambrosia. All the pent up rage, revenge and desire explode into one as Macbeth and MacDuff go one on one. This sequences proves that sometimes deviating from text can be pleasant surprise and it is these little changes that makes the biggest waves. Kurzel shows how a talent he trulys is and thanks to some inspired casting his version of this tale of evil and murder is possibly the strongest yet. The one thing that is not in doubt is that keeping this story medieval ensures that the twisted feel is not lost. Shakespeare himself would liked this piece.

Michael Fassbender once more shows his creditibility as is perfect casting as Macbeth. Easily convincing as the leader of men and having an uncanny knack to entrance his audience, Fassbender has been one of the stars of 2015. Giving a realistic portrayal of a man wrestling with his soul, this man captures the very soul of the production. Marion Cotillard matches Fassbender, but skillfully she underplays the potential madness of her character. Showing Lady Macbeth as a woman consumed by loss she paves a new emotional for the character.

Justin Kurzel's Macbeth deserves its place alongside the great adaptations of Shakespeare. Never before have seen a stories spirit so well contained and anyone who follows will have a hard task.

The Weight of Your Love: Review of Carol

Carol

Director: Todd Haynes

By Alex Watson

Lauded at Cannes, Todd Haynes has brought us a love story like no other with Carol. Excellently channelling the repressed feel of love in the 1950's, Haynes lifts the lid on what hidden desire lurk below in ourselves. Aided by two stunning central turns by Cate Blanchett and Rooney Mara, this film takes on a measured feel where the longing for a forbidden romance is the most painful aspect. Through this restraint a beautiful picture emerges that makes us question what love truly is?

Therese (Rooney Mara) is a budding photographer and shop girl at a Manhatten department store. One day completely by chance she meets Carol Aird (Cate Blanchett), a socialite going through a bitter divorce with husband Harge (Kyle Chandler). As the pair become acquainted, a mutual attraction soon follows. But in their current society, their romance cannot take flight leading to some difficult choices for both.

Opening on a shot of a subway grille on the street, Haynes expresses his intentions for Carol early on. This is a powerful picture about two women who are trapped by the society they live in. This convention sees the pair living lives they are not entirely comfortable with and by revealing what's underneath, we see the true desires. Therese is a confused young lady who works an unsatisfying existence in a job she doesn't care for and is stuck in a loveless relationship. Carol is a lonely and isolated woman trying to find her own identity outside of the social circle she is still obliged to hang on to. Early conversations although stilted have a powerful passion hanging overhead. However, there is more to this story that just longing glances, Haynes also brings forward the pain of divorce and someone having to go back to square one to understand their own life.

Carol's separation from Harge makes up some of the movie's key moments as his behaviour grows increasingly irrational. Thankfully this man is not made out as the movie's villain and Haynes shows him more as a desperate and bewildered individual who cannot come to terms with what has happened. Her relationship with Therese is scrutinized from the get-go and is seen as a danger to her chances to gain custody of her child. When the relationship builds there is a fine line drawn between what people will say and the true meaning behind the words. Frequently there are heavy pauses where the audience waits for our characters to fill the gaps but secretly knows they cannot. This anticipation and wonder of what these characters feel provide Haynes' film with a feeling of enticement.

The real driving aspect of Carol is the sheer power of love. This picture has many tender and heartbreaking moments on display such as Carol whispering "My angel flung out of space." to Therese. We yearn for love to find a way forward, but Haynes remind us that sometimes life isn't too kind. Beats pass with such pining that it feels almost unbearable and in the midst of her problematic divorce, the outcome looks bleak. The movie's third act sees Therese attempting to find a shred of something to hold in life. What transpires is a final shot that is both heartfelt but also mighty rebellious for the time period. Love may be forbidden, but desire never fades.

Winner of Best Actress at Cannes, Rooney Mara is excellent as Therese. Given a more difficult part to play with, Mara excellently pushes this character from repressed young girl to wiser woman. Her underplaying of this role works wonders and she effortlessly carries to film more weighted content. Blanchett is equally marvellous as Carol and this character is more like a buttoned-down version of her Oscar glory in Blue Jasmine. Barely conceiving her characters grief and alienation, Blanchett strikes a powerful chord. Both are firm favourite for nominations come awards time- expect both names to appear frequently.

Todd Haynes has produced one of the pictures of 2015. Carol is rendering and deeply affecting portrait of love in a time gone by. Best get a new heart afterwards because your old one will be torn to shreds.

Two's Company: Review of Legend

Legend

Director: Brian Helgeland

By Alex Watson

Although Brian Helgeland's Kray Twins biopic creaks in places, an excellent and fiery Tom Hardy performance provides Legend with enough fuel. Ronnie and Reggie Kray are worlds apart in persona but are very cut from the same cloth. Helgeland does provide some great sparkle and makes out what icons these two East London gangsters in the 1960's. Their legend may come to life here, sadly it is not all perfect beneath the gloss.



Frances (Emily Browning) tells the story of brothers Reggie and Ronnie Kray (both Tom Hardy)who  rule London's East End with an iron fist. Although Scotland Yard Inspector Leonard 'Nipper' Brown (Christopher Eccleston) is on their case, no one dares touch them. Their rise to power is met by many bloody struggles as well as the problems caused by Ronnie's continuous violent temper. In the end, the pair will enter into gangster legend.



Although Peter Medak's 1990 twin biopic The Krays had its merits, it fell back far too easily on the assumption the boys were controlled by their mother. Legend stays free of the full backstory of the twins and instead focuses on their effort to secure London. Early on it is easy to see how narrator Frances is enamored with the confident and dazzling Reggie. He is the 'gangster prince' who oozes class and is beloved by all who serve him. Ronnie, on the other hand, is a like a bull in a china closet. A certified paranoid schizophrenic with a violent streak and also openly homosexual, he is the twin others avoid. Frances from much of the movie is blinded to the truth of the real monster that lurks beneath the surface.


The brothers through violence and intimidation have gained a certain credibility and this allows them to rub shoulders with stars. Even the American Mafia led by Angelo Bruno (Chazz Palminteri) wants a slice the action. The problem for the authorities is that they are virtually untouchable due to this. Ronnie is forever the bane of the twins existence as his unpredictable jumps out at the most unexpected moments. He mistrusts most outsiders, including Frances who is wary of her lack of acceptance but chooses to stay silent. Helgeland's movie loses some momentum due to its uncertain tone at points, early on some violence sequences are played almost for laughs. When going to war with the Richardson gang led by Charlie Richardson (Paul Bettany) there is a bar room brawl where Ronnie explodes at no one having guns. "A shootout is supposed to be a shootout!" he screams. You feel almost a darker tone is required that would have enhanced the fear their name alone would strike.


One neat touch that Legend provides is telling the tale through Frances' eyes. The lone female influence in Reggie's life, throughout she sees these men as both hero and villain. Although she adores her husband and still fights for the love they once shared, she is terrified of his attachment to Ronnie. Helgeland may give events a rather drawn out feel but their rise is not boring by any means. These two are portrayed as figures who fitted perfectly into the 1960's glamour and looking back it was quite something these two were so warmly embraced. Helgeland's overuse of violence, however, does leave a nasty after taste. In his defense, what better way of demonstrating the truth than the truth itself? London is ironically left on the back burner and by making the Krays the centerpiece, all else feels obsolete.


Tom Hardy is a hulking presence in this picture and is very much the power cell that gives this movie's heart beating. Sharing great chemistry with himself, he brings to life both tough persona's of the Kray Twins. As Reggie, he is the twinkling eyed scoundrel with undeniable charisma. Playing Ronnie he is the polar opposite and is stiff, nasally talking and a hotly suspicious wreck. Together on screen Hardy magnificent twice over and deserves contention this awards season. Rare is it to see an actor able to effectively play two intense characters at once. Hardy carries off with apparent ease. Emily Browning also deserves credit for her lower-key performance. As doe-eyed Frances, she is the voice of this movie that injects a degree of warmth.

Legend is a movie that is worth the admission fee purely for seeing Tom Hardy's two-handed performance. It may not be the perfect film, but still it is a great reminder of how sometimes crime can pay.

Creed: Legacy: Review of Creed

Creed

Director: Ryan Coogler

By Alex Watson

Smartly staying away from being trapped as Rocky 7, Fruitvale Station director Ryan Coogler has scored a knock-out blow with Creed. Possessing a raw and lively energy that fuels it from the opening frame, this tale of Apollo Creed's son Donnie is one that ignites interest. Coogler demonstrating his love of Philly's favourite son keeps Rocky close enough in the frame that he doesn't steal the show. However this tale has a refined emotion that has lacked in previous outings. 

Adonis 'Donnie' Johnson (Michael B Jordan) is a hungry young fighter from LA attempting to make it in the hard world of boxing. Unlike his opponents he holds a secret- he is the illegitimate son of Apollo Creed. When he is rejected to join a prestigious gym, Donnie travels to Philadelphia hoping to connect with his fathers old rival and friend Rocky Balboa (Sylvester Stallone). Living in the shadow of a man he has never known troubles the young man, particularly when faced with fighting fierce champion Ricky Conlan (Tony Bellew). 

Coogler and co-writer Aaron Covington closely match the centre story line with the original story. In Creed, Donnie is a talented but direction less fighter looking for a fighters life. Taken in as an angry juvenile by Mary Anne (Phylis Rashad), the wife of Apollo, he has lived with a burning desire his whole life to fight. There is a wonderful simplicity that Coogler is able to bring forward in this character along with a troubled vicious streak to fight anyone who gets in his way. Mary Ann is wary of this feeling and since her husband died fighting Ivan Drago, she wants to stop him from following a similar feat. Throughout Donnie gets labelled such derogatory names as 'False Creed' and critics snipe at his attempts to fight. The only effect is it propels him further on.

Finding Rocky is not as straight forward as one would hope. The Italian Stallion is a jaded shadow of yesterday and getting back in the ring in any capacity is not welcome. Through their early conversations, both men are establish a common ground and Rocky still feels pangs of guilty over his role in Apollo's death. Loss is the potent theme and it is expertly maintained through Rocky himself as in this instalment all that he holds dear has truly gone. He will later deal with the most devastating blow off all. For once this character is stripped back to basics and under Coogler emotionally conflicted and gentle soul of the first instalment. Other characters such as Donnie's new girlfriend Bianca (Tessa Thompson) is dealing with hearing loss that will eventually become permanent. Despite this she is still determined to sing and 'feel alive' and this central love theme may not have the parallels of Balboa and Adrian but is nonetheless extremely sweet-natured. 

Creed feels its most alive during an impressive array of fight sequences. Coogler is unafraid to stand back and let his camera do work. Getting in close and allowing the slow-mo punches fly and the blood splatter, the result is electric. Setting up and all or nothing fight with champion Colon, who is shortly going to jail is a tricky prospect. Donnie feels he is only getting a shot because of his lineage but the champ needs a big pay-day after an over zealous movie before his previous fight. Interestingly the finale is held at Goodison Park, home of Everton FC and with a crowd against him the fight seems one-sided. What follows is some of the most enthralling boxing action we will see in 2015 as we feel the effect of every big blow. Outmatched by the larger and experienced Conlon, Donnie has a ton of heart in his corner and this will prove the difference. 

Michael B Jordan proves he is the new lifeblood of this potentially profitable new franchise. After showing a rare quality in the disastrous new Fantastic Four, Jordan is given a character that fits him well. Through a magnificent (and Oscar worthy) performance, the young man is able to tentalisngly bring forward all the pent-up frustrations and needs of Donnie. Ably holding his own against his more experienced colleague, Jordan show us the qualities Fruitvale Station hinted at. In what is his finest work in sometime Sylvester Stallone gives an understated but quality performance. Rocky in this episode is haunted and losing hope on life. Struggling with a body that slowly betraying him and conflicted by the loss of Adrian, his outlook on life is slowly darkening. Stallone shows that given the right direction he can be wonderful. 

Creed is one of the most refreshing surprises of 2015- many people (such as yours truly) sneered at this idea when announced in 2013. Ryan Coogler has shown us that he is a director for the future and this kind of talent is one worth keeping tabs on. Rocky Balboa Lives Again!

Best Donald Sutherland Roles

After his villainy masterclass in The Hunger Games trilogy, this week we salute a real Canadian treasure. The 80 year old native of St Johns, New Brunswick has brought a lot more to cinema than his son Kiefer. Possessive an ability to steal a film away with only the most deft of touches, Sutherland is one of cinema's true underrated greats. Here are a collection of his greatest on screen appearances

(**Apologies for not being able to provide all videos directly!)


John Baxter: Don't Look Now

Sutherland's performance here is magnificent two part one- on the one hand he expertly gives a devastating real impression of a bereaved father. On the next hand he is a man whose curiosity is leading him down a very dangerous road. Haunted by a small figure in red mack around the lurking streets of Venice, director Nicholas Roeg encaptures the true horror involved. But its the opening scene that sets the tone as every parents nightmare comes to life The abject fear and crushing bewilderment in his eyes makes his character come alive.

https://www.youtube.com/watch?v=U8yqq6uBrKc



Colonel X: JFK 

Swiftly stealing Oliver Stone's movie from under star Kevin Costner, Sutherland provides what is the most accomplished cameo is this 1991 ensemble. "Call me X" his whistle-blowing army Colonel informs D.A Jim Garrison. What follows next truly turns Stone's movie around and we realize this is no ordinary conspiracy. Speaking at unhurried pace, the almost creepy joy X has while hold his deck of substantial cards slowly elevates tension. Did his transfer to a remote base in the South Pole have nothing or everything to with the assassination? This brief appearance leaves us reeling.

Ronald Bartel: Backdraft 

Another showcase of his scene stealing abilities, as recovering fire-bug Ronald, Sutherland is absolutely electric in Ron Howard's drama. Appearing a collected, if slightly odd character he is needled like acupuncturist by fire investigator Shadow (Robert De Niro). His sudden childish glee at his desire to what he wishes to do to the world, "Burn it, burn it all!" is utterly frightening and his more dangerous side appears. One of his more OTT on screen moment but when carried with such gusto it hardly matters.

Calvin: Ordinary People

As father Calvin Sutherland is reduced to playing referee to control the bitter animosity of his wife and son. Secretly drowning in his sadness and despair following their beloved older son's death, Sutherland brilliantly plays a man just trying to hold on. One of the great missed performances that Oscar should have rewarded, Sutherland's underplaying of his final scene with Mary Tyler Moore lament her coldness and their lost love as a result is heart rendering.

Hawkeye Pierce: M*A*S*H 

He may not have made as many waves as Alan Alda as the laid back, Martini loving Hawkeye but Sutherland is still wonderful in Robert Altman's satire. Constantly sporting his beloved shades (even during surgery) Sutherland gives one the more refined demonstrations of comedic touch. Always one to make his point in an almost docile manner, Hawkeye is the man every wants to go and among the various characters teetering on the verge of breakdown- Hawkeye is the only level head. Shown during his calculated and casual baiting of rival Frank Burns (Robert Duvall)

https://www.youtube.com/watch?v=LXtVS8SFmJw

Flame Out: Review of The Hunger Games: Mockingjay Part 2

The Hunger Games: Mockingjay Part 2

Director: Francis Lawrence

By Alex Watson

Finally the adventures of Katniss Everdeen are given a skillful end by Francis Lawrence. After the misfiring Part 1 installment, The Hunger Games: Mockingjay Part 2 delivers the thrills. Injection a sense of neat tension into the mix, Lawrence ensures that final assault on Panem is one to remember. These adventures have become one of the cornerstones of the young adult genre and with a hard-nosed heroine like Katniss they are impossible to dislike. 

The stakes are no longer just for survival in District 13 and Katniss Everdeen (Jennifer Lawrence) realizes that she will have to kill President Snow (Donald Sutherland) to unite this world. Her feelings are conflicted between old friend Gale (Luke Hemsworth) and tortured former lover Peeta (Josh Hutcherson) whose had his mind warped by Snow previously. However there is a still the question about the motives of President Alma Coin (Jennifer Lawrence). 

"It's so frustrating when she goes rogue" smirks Plutark Heavensbee (Philip Seymour Hoffmann) as she once again deserts to join in an attack. The audience however will disagree because Katniss' rebellious streak is what keeps Mockingjay Part 2 alive. This young woman is not the chosen one by any means but is no the less continually willing to put her body on the line. Unwilling to play along to the tune of her unofficial handlers Coin and Heavensbee, Katniss revels being on the front line as is unafraid to talk to her audience directly and icily convince them to lay down their arms. The fine line between politics and good storytelling has been a highlight of this franchise. In this installment it is no exception. 

Katniss in some ways has become disillusioned with her fight and seems aware that the cause she is fighting for is potentially a losing one. Alma Coin was a mysterious figure whom our heroine forged a tentative alliance with in the previous installment. Her motives have always been ambiguous but in Part 2 it becomes clear that she perhaps isn't so far removed from Tyrant Snow after all. This mission has the odds going for it, Capitol is currently struggling to keep up with the rebel advance. But although each player pulls their own weight such as propaganda director Cressida (Natalie Dormer) the end cost will be one that is brutal. 

The set pieces add the most excitement into Lawrence's last installment, there is an almost horror film feel as the encounters 'The Mutts' into sewers of Panem. Prepare to jump in your seat as the team runs, dodges and sets things on fire. One sequence sees them attempt to advance on a block of abandoned buildings only to encounter the pods the enemy has place to stop them. Moments later a surging black liquid causes them to literally run for their lives. In the end lives are altered and by the time they reach Snow's mansion one final act will firmly blur the lines of right and wrong leadership. However, it is all worth it to see the venomous glint in Snow's eye as Katniss stares him down for the final time. I won't give away too much here but expect to have a rug pulled from under your feet. 

Jennifer Lawrence has made the Hunger Games series her own and as Katniss Everdeen she has made for a ballsy but heartfelt heroine. Lawrence has given this woman a bold feel over the four installment and this has been one of the key steps towards her cement her A-List status. Josh Hutcherson and Woody Harrelson also deserve credit for bring to life two conflicted souls in Peeta and Mitch. The pair have been irreparably shaken by their outings and are attempting to get back to what they are. Donald Sutherland has perhaps stolen the show during his time as President Snow and with great relish he has bought this Machiavellian villain to life. A true adversary who is both smarter and unafraid to play dirty, he has proven an obstacle to climb! 

So it is with great regret that we say goodbye to the fine franchise and Mockingjay Part 2 has been a send off that fans should be proud of.

Best Random Musical Moments

Magnolia: Wise Up

In PT Anderson's acclaimed ensemble drama, this feels like an unlikely play for a musical montage. However, through the heart breaking lyrics of 'Wise Up' by Aimee Mann these few minutes effectively sum up the persona's of each conflicted soul present. Also if you like Tom Cruise's Rock of Ages crooning then this is far better!

Wayne's World: Bohemian Rhapsody

In Mike Myers now legendary 1992 piece the tongue in cheek tone is set pretty much from the first frame. Queen seems an unlikely choice for these guys to rock out to- but boy do they ever nail this one!

40 Year Old Virgin: Age of Aquarius/ Let The Sunshine In

After two hours of seeing Steve Carrell attempting to get it on, the climax of this piece takes a turn into a rather zany road. Though bizarrely enough it is rather fitting as a release of sexual tension.

500 Days of Summer: You Make My Dreams Come True

In a few short moments, Joseph Gordon-Levitt pretty much sums up every man after doing coitus. Sound tracked to Hall & Oates a big crowd of passers by join into celebrate the mans big moment. As our smiles go wide, we all give kudos to the Han Solo inclusion.

Ferris Bueller's Day Off: Twist & Shout

Proving that this is one student who could truly draw crowds, Ferris Bueller (Matthew Broderick) bring a parade together to serenade his conflicted friend Cameron (Alan Ruck). The result is a jubilant sing along of Twist & Shout by The Beatles. I'm sure even the Fab Four would have approved.

Back To The Future: Johnny B Goode

Deciding to play a classic well before it has been released to the 1955 high school crowd does down a storm from Michael J Fox. Well, until he nails that solo! Eagle eye music lovers watch out for "Chuck, its your cousin Johnny Berry- I think I found that sound you're looking for!"

Best Ralph Fiennes Moments

The Grand Budapest Hotel

In Wes Anderson's divine 2014 comedy, Fiennes proved his comic worth in a golden performance as self absorbed concierge Gustave M. His talents for fast talking and subtle humour where best demonstrated during one of cinema's most unorthodox interviews!

Schlinder's List

Steven Spielberg's 1993 Oscar winner was people's real introduction to Ralph Fiennes- as stone cold Nazi commandant Amon Goeth, Fiennes is able to freeze a scene whenever he steps forward. This sequence provided a perfect insight into Goeth short temper and perhaps inner frustration with himself. Hearts are in mouths as he attempts to shoot a Jewish factory worker simply because he can!

In Bruges

As foul mouthed mob boss Harry, Fiennes gave us an insight into his ability to do funny. The F-Bomb is never far away whenever this man rears his head. Through limited screen time, Fiennes succeeded in taking the movie from under star Colin Farrell. In this scene, his lurking threat is felt even when off scene!

Harry Potter and The Goblet of Fire

As 'You Know Who' Fiennes was the perfect casting and his icy malice cast a dark and wide show over the series. Making the perfect entrance, his presence is felt almost immediately and in an instant, the man nightmares were created for is born!

(Maid in Manhatten Not Included!)

The Masterplan: Review of Our Brand Is Crisis

Our Brand Is Crisis

Director: David Gordon Green

By Alex Watson

On paper Our Brand Is Crisis should have been a winning political comedy, but despite a fine cast the story just doesn't ignite and the needed tension is sorely lacking. Needed an added bite, the script by Peter Straughan fails to make full use of the interesting satire it has at its disposal. Director of stoner comedy The Pineapple Express and the innuendo filled Your Highness, David Gordon Green was a surprising choice to helm this. Although he shows that his work can go surprisingly deep, Green sadly misses the target. 

Jane Bodine (Sandra Bullock) is a political strategist who has gone into seclusion after some widely covered personal errors which gained her the nickname 'Calamity Jane'. An olive branch is extended to her when she recruited by Ben (Anthony Mackie) and Nell (Ann Dowd) to help out with a political campaign in Bolivia. The candidate Pedro Castillo (Joaquim De Almeida) is out of touch with his public and behind in the polls. The real tempting reason is the chance to get one over on her former rival Pat Candy (Billy Bob Thornton) who is heading the campaign for the opposition.

In some places David Gordon Green does succeed in making Our Brand Is Crisis shine, one sequence where Jane gets drunk with some locals raises the most laughs. The faults of this picture are not obvious but the story is the biggest fault with the story. Jane's past is not nearly touched upon as much as required and we never get a full sense of her inner conflict. Likewise with her relationship with Pat Candy, referred as a "Sicilian Blood Feud" by Rich (Scoot McNairy). This love/hate relationship is not explored and there is a lack of brooding hate which makes their encounters undercooked.  

Politically the story could have been an interesting one as Castillo has already been President of Bolivia before and when he did his privatizing of industries didn't go down well! Electing him to office again is a seemingly impossible task. Being produced by Grant Heslov and George Clooney, you would expect so political depth and perhaps so good commentary on the Bolivian economy. Green sadly only brushes over this area and despite rumours of the country having a possible IMF bail out which could cripple the poorer regions, we are left to wonder exactly what the game plan is? Resurrecting Castillo's campaign does offer some rib tickling injections of humour- Llama gets run over while making commercial, leading Jane to muse "It's like he killed himself rather than appear in our commercial!" Other than these brief glimpses of hope there is a stale after-taste. 

Morally there is a problematic centre about its chief characters as Jane is continually self loathing over the people she chooses to serve. At the beginning we get a sliver of her convoluted persona as she tell us how she believes in getting the vote and not wondering about the politician himself. Jane like others in her field is a gun for hire who after fighting the good war shall just locate the next battlefield. Earning the nickname 'Calamity Jane' has hurt her deeply and she is now far from home attempt to resurrect herself for a cause she maybe doesn't full believe in. There is a big sense of hurt and betrayal on both personal and business levels during the climax. Although the sentiment rings hollow and it feels ever pushed upon us, it does leave our brain cells ticking. 

The principle strength of this picture comes from the strong central turn from Sandra Bullock. Breezing through the movies problems like they are nothing at all Bullock makes great use of her comic timing. Despite having little to work with she easily dominates each scene she appears and becomes this movies main selling point. A woman forever  since her 2009 Oscar win, Sandra Bullock is now in definitely contention for another nod. 

Our Brand Is Crisis really should have been a far stronger and more satirical effort from David Gordon Green but his want to make this centuries Wag The Dog hasn't come to fruition. Lord know what would have happened if he cast James Franco and Danny McBride? 

Hear Me Roar: Review of Suffragette

Suffragette

Director: Sarah Gavron

By Alex Watson

A powerful central turn from the wonderfully consistent Carey Mulligan isn't enough to spark Sarah Gavron's Suffragette into life. A brutal recollection of a campaign where women literally put their bodies on the line to secure voting rights. The main problem is this film feels far more preachy and drawn out than neccessary. Mulligan's character is well realized and in places superbly underplayed, just a shame that writer Abi Morgan couldn't spread this to the other characters. 

Maud Watts (Carey Mulligan) is a working class woman who has worked in the same laundry since age 12. Although she leads a contented life with husband Sonny (Ben Whishaw) her son George, Maud is still struggling to survive. The Suffragette campaign for women's rights has taken a more militant approach under Emmeline Pankhurst (Meryl Streep) and soon Maud's eyes open to the oppression that women like are facing. However, the more she becomes involved, the more her life begins to falls apart. 

Suffragette is a well acted piece, there is no question there but it is also a rather narrow sighted picture by Gavron. All the men around Maud are shown as callous and sexist pigs that believe women don't deserve anything. Even Sonny eventually revealed as a rather fat headed chauvinist who believes her place is as his wife. At first, our heroine goes about her business without argument puts up with her lout boss Mr Taylor (Geoff Bell). When her friend Violet (Anne-Marie Duff) is unable to speak at Parliament, Maud takes her place and this introduction to activism provides her with a renewed purpose. 

Although Maud is well written, writer Abi Morgan doesn't given nearly the same treatment to character such as educated chemist Edith (Helena Bonham Carter) or her abused yet hopeful friend Violet (Anne-Marie Duff). Both ring in a fine pair of supporting performances but their depth only goes skin deep. Emmeline Pankhurst is made out as a holy and idolized figure but aside from a brief and barnstorming Meryl Streep appearance, her relevance to the story is minimal. The law men such as cynical detective Steed (Brendan Gleeson) are not presented as the boo-hiss villains expected. Steed is one of the few men who believes in keeping the peace and perhaps importantly, preventing these women from doing something worse. The exchanges between Steed and Maud are one of main flickers of electricity. 

Gavron does a decent job in presenting just how violent and risky this campaign became through time. Any numbers of times we see female activists attacked by police after venting their frustrations. Their actions such as bombing a government ministers empty home and the last drastic action of Emily Davison (Natalie Press) are neither praised or condemned. This picture works on a level where there is a level of repression that feels the need to break free. The third act is the one that slightly breaks the camel's back as the woman are imprisoned and attempt to go on hunger strike. Despite some hard-bitten force feeding, it just doesn't crackle like it should do. 

Overall Suffragette is a gritty and otherwise heartfelt piece but sadly it doesn't feel as meaty as one would expect. I expect we will probably see this among the ten Best Picture nominees, but its lack of depth on its subject may have some voters going against it. 

What We Do In The Shadows: Review of Spectre

Spectre

Director: Sam Mendes

By Alex Watson

Although it matches Skyfall blow for blow in the thrills department, the new Bond offering Spectre lacks a certain something. The set pieces on display from returning director Sam Mendes are mind-blowing in places. Perhaps the real problem is the inclusion of the problematic childhood story that its predecessor grabbed so beautifully. Daniel Craig is a force as usual in 007 mode, but this just doesn't feel like the memorable ride that it should have been (and lets not get started on Sam Smith). 

When a vital clue to the secret of his troubled youth is found in the rubble of Skyfall, James Bond (Daniel Craig) begins to go rogue to follow the trail. Despite pressures from new boss M (Ralph Fiennes), Bond stumbles into the path of a powerful secret organization know only as Spectre. Headed by the villainous Franz Oberhauser (Christoph Waltz) who seem to have paid a very close eye on Bond since childhood! 

Making a bright starting with a remarkable long tracking shot during Day of the Dead in Mexico City, Spectre at points is able to shift into excitement overdrive. Sadly Mendes' follow up is never fully able to balance itself out and become the accomplished picture is seeks. Centrally there is a hangover effect still lurking from the prior outing. The script by Robert Wade, John Logan, Neil Purvis and Jez Butterworth doesn't have an immediate spark in draw us in. Bond's hunting high and low for the clues that could explain everything or nothing about his childhood have a stop and go effect on the story. There is also the tricky matter of how Oberhausen and devilishly tricky new boss C (Andrew Scott) and his desire for constant surveilance fit into the picture?

The 24th outing of the Bond franchise does show its unique combination of wit and action. When Bond is grilled on his appearance in Mexico City he coolly remarks "I was taking some overdue vacation." But all the moments that should make this an accomplished thriller are ones that fall surprisingly flat such as car chases through empty cities. As hard as Ralph Fiennes works to fill the void left by Judi Dench, the old girls presence is still badly missed. In this picture the boss is permanently confined to the end of a phone whilst dealing forever making inquiries about Bonds whereabouts to suffering Q (Ben Whislaw) who in this picture literally takes on the problem solver role. "Don't worry Bond, it was only a £3 million prototype!" he bemoans another Aston Martin meets the bitter end. 

There are winks towards the successful Bond formula's of old as such the wordless henchman Mr Hinx (Dave Bautista) who with a crushing unease asserts himself. Lea Seydoux does credit for playing above the typical damsel in distress as Madeleine Swan. With little to work with she is able to crave out a throughly plausible character. Despite a white cat herring to one of the most beloved Bond villains, Christoph Waltz feels wasted in what could have been the meaty nemesis of them all. Confined mainly to the shadows until his third act reappearance, the segway into his personal vendetta against Bond is rather hoaxy and just a little too predictable. Coming across as more comical, Oberhausen lacks the needed icy cold that could have been so memorable. Knowing the kind of charm and unease that a skilled actor like Waltz is able to bring, this feels like a missed opportunity. 

Daniel Craig is again a fine figure to watch as 007 and it seems unthinkable these days just how much doubt surrounded his future to begin with. Able to conjure a rarely seen emotion and angst lurking beneath the cool outlook, Craig has become the cornerstone of this character in the modern-day. Should this be his last outing, whomever dons the tuxedo next will have one hell of a task! 

Spectre despite having the same tools to work wonders with is one effort that doesn't quite hit the high notes. It succeeds a straight forward and entertaining piece of action but sadly is not the pinnacle that we so badly hoped for. 

Pawn Sacrifice: Review of Bridge of Spies

Bridge of Spies

Director: Steven Spielberg

By Alex Watson

Marking the fourth collaboration between Steven Spielberg and Tom Hanks, this one might just be their strongest effort yet. Bridge of Spies is a finely made thriller that almost effortlessly bring forward the tension and frailty that the Cold War provided. This ride to justice is a long one, but the journey never once feels strained. Thanks to an Oscar worthy Tom Hanks and a cracking Coen Brothers script we see how much one man was willing to put on the line to save others. 

When Rudolf Abel (Mark Rylance) is arrested by the US Government for being a Soviet spy, insurance lawyer James B Donovan (Tom Hanks) is given the unlikely task of defending him. Despite the guilty verdict, he still presses for the mans innocence much to the displeasure of his fellow partner Tom Watters (Alan Alda). But when a US pilot is shot down while on a mission over Soviet territory, Abel and Donovan find themselves involved in a potential swap deal. 

Spielberg smartly does not rush the telling of his story in Bridge of Spies as he knows that the sheer power of it drives the movie along. The build up to the possible exchange gets to almost unbearable levels of anxiety as Donovan enters East Berlin. Here a fair outcome is not promised and there is a sense that both the CIA and the Soviet agents aren't thoroughly concerned with being by the book. Abel is an almost meek and gentle presence who when arrested by the US agents greets them in his underpants asking them to hand him his false teeth. Donovan is a straight shooting character who believes that any man has a right to defense under the US Constitution. At first defending Abel is simply as a publicity stunt which frightens his wife Mary (Amy Ryan). Dirty looks are cast his way and the people soon turn against him, but never once does he fold. From early on he realizes the value Abel could bring to the US and this trust pays off big time. 

The chemistry between Abel and Donovan gives Spielberg's thriller an almost comic edge. Frequently we see his attorney ask the man "Aren't you worries?" only for him to reply "Would it help?" Early on a big pawn enters into the game when US pilot Francis Gary Powers (Austin Stowell) and idealistic and love-sick student Frederic Pryor are both captured and imprisoned. Entering the other side of the Iron Curtain, Donovan has to meet some ruthless and temperamental persona's such as shady and volatile GDR agent Vogel (Sebastien Koch). Securing a swap for both men is seemingly impossible and even his own government seems more concerned with Powers than Pryor. In East Berlin, Donovan is desperately out of his depth and there are moments that shock us. One moment sees two people brutally gunned down while attempting to cross from East to West! 

Featuring a script by the Coen Brothers, at point there is a typically zany feel by these two in Bridge of Spies. Watching Donovan meeting Abel fake and delusional East German family is one moment that is throw back to the screwball humor that are able to bring. There are also sequences that are wonderfully underplayed but offer electricity nonetheless. The calm and docile opening chase sequence on the Brooklyn subway is eye-catching throughout. The real point of suspense late on is as the switch becomes nearer. Will this go smoothly? Or will one over zealous agent throw a spanner into the works? Donovan in this sequence steps up his game and emerges as a real hero, particularly in the docile and almost charming way he blackmails a youthful office assistant. In this moment, he has found perhaps the one man in Berlin will listen hard! The uncertainty of what Abel's people will do with him is one question that haunts the picture. 

Tom Hanks shows what a presence he can still be when tasked with holding things together. As James Donovan he is the voice and face of reason and even when the odds are stack he goes down swinging. Hanks plays to the characters strengths and is an engrossing presence who willfully steps into the crooked ground. Mark Rylance however, steals the film from underneath Hanks with a buttoned down turn as the quiet Abel. Whenever Rylance appears he is a likable and almost tranquil presence. Steadfast in his beliefs, Abel makes no apologies for his past or present actions, he simply just wants to paint. Cast as the BFG in Spielberg's new adaptation of Roald Dahl's beloved novel, Rylance gives a big sign of what could be next. In this he is very much the little friendly giant who has become the US' most valuable asset. 

Bridge of Spies is one film that will no doubt be an awards favourite this year, if only for the acting work on display. Spielberg and Coen brothers have proven a fine mix and hopefully this is one collaboration we will see again.