Long March To Freedom: Review of Selma

Selma

Director: Ava DuVernay

By Alex Watson

After being controversially overlooked in several key categories at the Oscars (despite scoring a Best Picture nod), Ava DuVernay's Selma is an engaging look at the 1965 Selma to Montgomery march. Although slightly dragging in places, this piece comes alive with a spirit that is undeniable. DuVernay never once holds back from showing the sometimes violent consequences of the Civil Rights movement. But through non violent resistance and determination, a crucial cornerstone in US History is made.

In 1965, Martin Luther King (David Oyelowo) is concerned that although segregation has ended, black citizens are still being denied their right to vote. Bring his thoughts to President Lyndon Johnson (Tom Wilkinson), the big man is reluctant to get involved despite many recent racial related deaths in the southern states. In order to bring about change, King and his supporters descended upon the town of Selma, Alabama and plan to march to the state capital Montgomery. Their mission will be no simple one and all the way there is substantial damage to bring about change.

Smartly picking the story up when Dr King received his Nobel Peace Prize rather than his "I Have a Dream" speech, Selma is a very focused effort by DuVernay who ensures that the story is told in a bold but never lecturing fashion. From the very outset, their work in Selma is tainted. Alabama was a difficult place to make progress and under racist governor George Wallace (Tim Roth), black voters were hindered at each turn. One of the opening scenes sees Annie Lee Cooper (Oprah Winfrey) attempt to register, only for the court clerk to ask her impossible questions until she cannot answer! As King himself points out to Johnson, racist killers are always absolved by all white juries because the black people cannot be part of the process.,.. unless they are register to vote.

Although there are no less than three tense and brutal marches that occur with DuVernay's film, the real story in this film comes from the back room politics. Through these scenes we see the preciseness and subtle power of King's strategy through non violent protests. However, it is these scenes that on occasions derail the film slightly. The power of MLK's oration is present, along with his continually strained relationship with wife Coretta (Carmen Ejogo). Problem is it often seeps into needlessly long monologues that delay the action. A sense of hardship occurred in the marches is also disappointingly absent and this subject feels more tailor made for awards. Although we see King proudly preaching their victory on the steps of the State Capitol, we never truly feel the required power desired for this result.

Where Selma does succeed though is in the unflinching portrayal of the notorious first Selma march where the predominantly white police force horrifically turned a peaceful protest into a national televised nightmare. As we feel the batons club innocent victims and see them run for their lives in the midst of tear gas, a great injustice is unfolding. Though this makes for horrifying viewing, a crucial breakthrough is made. Attitudes in the country swiftly changed and people from all corners of America descend upon Selma! Even Johnson who has been sat on the fence up until this point is finally forced to act.

But the film is carried on the shoulders of the excellent David Oyelowo who with a great subtle skill is mesmerising as MLK. Embodying the required charm and allure, the British actor is fascinating in the quieter moments of this character and is not afraid to give it gusto when it comes to the speeches of King! Cruelly denied a Best Actor nomination, Oyelowo has finally been given the role that he was born to play and from this point onwards, Hollywood should take note of this. Great support is given by Tom Wilkinson as the conflicted Johnson and Tim Roth who makes from a great on screen menace as the narrow minded Wallace.

Many will still complain about Selma not receiving more nominations, and in some ways it is a shame because DuVernay herself does deserve credit. This film is an inspiring one and we will get few civil rights films that match the power of this one. Dr King's victory was one that forever be echoed in history, but it was a fight that wasn't without casualties!

In The Bleak Midwinter: Review of Winter Sleep

Winter Sleep

Director: Nuri Bilge Ceylan.

By Alex Watson

Winner of the Palme D'or at the 2014 Cannes Film Festival, Turkish director Nuri Bilge Ceylan's Winter Sleep is a movie that although stretches the patience of film goers with its 196 minute running time, also touches base with the realities and problems within relationships that few have thread on before. The leisurely pace of the film shows Ceylan is in no hurry to let his drama play out and those who stay are richly rewarded with a emotional and hard hearted piece.

In the Steepes mountains, former stage actor Aylin (Haluk Bilginer) now runs the Hotel Othello and is hoping to one day write a book about Turkish Theatre. But aside from his status as a local celebrity and weekly column he writes, tensions are beginning to rise within the walls of his home with wife Nihal (Melisa Sozen) and acidic tongued sister Necia (Demet Akbag). As winter approaches, the heat of conflict arises and Aylin is left to ponder what might be?

From the very outset in Winter Sleep, there is a sense of conflict that is hinted at, early on we see an angry young boy of drunken lout Ishmail (Nejat İşler) smash the window of his car. Although he acts reasonably, violence so nearly escalates. Aylin appears to view himself as the wise, caring and well loved ruler of the realm. As he denotes "My kingdom may be small, but at least I'm the King." But there is an undeniable arrogance and opinionated element to his character which alienates him from almost everyone in the valley. The way he speaks to Nihal about how he is certain her fund raising efforts will fail is like hearing a parent speaking down to a child.

There is also cursory manner in how he treats the apparent suffering around him, everyone in the region seems to have good reason to hate him. A brooding hatred is slow drip fed to us as we learn of the variety of reasons for animosity. But Aylin appears oblivious to all around him and amidst the beautifully shot rocky mountain landscape, he has confined himself to the walls to his study and his own sense of superiority. Ceylin however, never once plays the sympathy card for this and allows us to witness first hand the ripples in the water this one man causes.

Conversation between family members in Winter Sleep are the perhaps overly long, but through these to looming sense of family conflict brings the film alive. The talks on show vary from the family matters, to ones of religious population to even politics. Through these however, the problematic reality of life and the complications that arise are both poignant and hard hitting. One fire side talk between Nihal and Aylin lays the issues of their dissolving relationship bare and the pair of them both shatter each others hearts with one well timed swing after the next.

As Aylin, Haluk Bilginer is never less than engaging as the smug and misanthropic hotel owner. Hiding his true feelings under a wall of supposed intellect and quiet chastisement, Aylin is a man who has all but ruined any possible meaningful relationship appears not to understand precisely why. But as Ceylin's movie progresses, Bilginer skillfully gives his character more of a conscious air that just might push him towards self awareness. Top support is also given by a radiant Melisa Sozen as determined Nihal, a beautiful young woman who has been stripped of a life and still attempting to find meaning in the midst of the wreckage.

Debate will always ensue about whether Winter Sleep was a worthy winner of the Palme D'or or merely an overly long family argument? Either way it is an absorbing and magnificently photographed piece that firmly captures the needed bitterness of Aylin's fortress.

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. 

Job Security: Review of Two Days, One Night

Two Days, One Night

Directors: Jean Pierre & Luc Dardenne

By Alex Watson

Like everyone else, I fully understand the pressure of having to find work and the sheer fear that comes from potentially losing it. For days on end you feel that restlessness and sleep becomes a forgotten dream. This week, Belgian directors, Jean-Pierre and Luc Dardenne return with a compelling vision of a woman literally fighting long and hard to keep her job from vanishing. With Marion Cotillard starring, Two Days, One Night could well be a heart rendering experience!

Sandra (Marion Cotillard) is a woman recovering from depression which forced to take sick leave from her job at a Solar Panel factory. Before she can return, Sandra discovers a shocking truth- workers were forced to work overtime to cover her hours, so their dreaded foreman has asked her fellow employees to vote between receiving a bonus, or making her redundant! With little time to spare, Sandra must visit each worker to convince them to let her keep her job.

Two Days, One Night is another refreshingly real but immensely raw effort by the Dardenne brothers. Throughout this excellently paced film, the characters put before us are ones that are so identifiable in our every day lives that we feel the pain throughly. Sandra isn't made out to be a heroine of our times, just a woman attempting to return to an old life, only to find a surprise that could push her over the edge. In a moment we are drawn to her struggle of convincing eight of her sixteen cash strap colleagues to give up their bonus but we also identify with her mental burden of the task.

As she visits each worker pleading for them to vote for her rather than against, the humiliation she feels is strongly presented. The reactions from bothering her co-workers on their weekend off vary from a fit of violence from a hot headed male, to numerous understanding but reluctant apologies, to finally one ashamed worker sobbing his eyes out and demanding forgiveness. Their difficulty of these choices is underlined by the unfair stance management has taken by shifting blame onto workers and now we a system which is in conflict.

The most fitting part of Two Days, One Night is in its down to earth feel and the people we meet could be the average person on the street. The Dardenne brothers present this story to us in a very minimalist style which also rings very true. Sandra may be struggling both mentally and physically and secretly you may question whether she is ready to work, but her willingness to plead for help and make a good fight are the films firing pin.

Marion Cotillard gained another Oscar nomination this week for her fine work in this film, which has been well deserved. In the Dardenne brothers movie, Cotillard is so heavy involved with her character that the film revolves around her performance. Demonstrating a great sense of agony and desperation, she brings alive Sandra and we firmly feel the strain she is under. Great support is also given from Fabrizio Rongione as her supportive although suffering husband.

Two Days, One Night is another fine effort from the Dardenne Brothers who are currently proving themselves to one of the masters of European cinema these days. If you haven't already seen their efforts such as L'Enfant, then this is a place to start!

Eyes Like Saucers: Review of Big Eyes

Big Eyes

Director: Tim Burton

By Alex Watson

Tim Burton makes an overdue appearance on Closer to the Edge this week. His last effort Dark Shadows, was met with a somewhat mixed response due to what seemed to be a confusing approach to his normal zany humor. This week he depicts the real life battle between real life husband and wife Walter and Margaret Keane over art that stunned 1960's California in his movie, Big Eyes.

When Margaret Ulbrich (Amy Adams) flees her marriage and relocates her daughter to San Francisco, she quickly falls in love with charming painter Walter Keane (Christoph Waltz). But soon she finds herself trapped in a nightmare when her beloved Big Eyes paintings are passed off as Walter's own work! Although her life in now financially lucrative, Margaret is living the ultimate lie.

Big Eyes is a sound and well made effort by Tim Burton but sadly it lacks his trademark humor and as a result hardly feels like vintage work by this man. The story is one that easily appeals to Burton's nature in that it is about two people finding something wonderful in an era where female art was typically frowned upon. In fairness, the script by Scott Alexander and Larry Karaszewski does succeed in capturing the snobbishness and the sexiest feel of the times, but doesn't feel nearly meaty enough to make any sufficient ground.

Centrally the relationship between Walter and Margaret is the element that fires the movie and when we first meet him, there is a massively cute feel and it isn't hard to see how exactly he sweeps the lady off her feet. When the cracks inevitably appear, we gradually clue in that this man is little more than a silver tongued trickster. Through his deceit he has now forced Margaret into a corner she will have trouble fighting out of! The potential conflict and controlling nature of their relationship never fully convinces and at times the antics boarder on cartoonish, such as Walter chasing mother and daughter through the house with matches! This feel gradually derails the film and shortens its ability to rise up.

The problem with Big Eyes seems to be that the story is lacking in a key function because it feels uncertain whether it is a comedy, a drama or both? Burton shows touches of his old self such as a borderline terrifying sequence when Margaret sees her painting come almost to life in a supermarket! However, there is not enough of his trademark to elevate this film to where it needs to be. Also although throughout the film we see Margaret painting her large eyed portraits, we never fully learn what has inspired her to paint in this style apart from being told "The eyes are the windows of the soul" 

Amy Adams does succeed in giving an honest and emotionally relevant portrayal of Margaret Keane. Through her soft spoken and gentle nature, she makes it thoroughly convincing just how this woman was duped into living a life of duplicity. One of the more consistent actress of today, Adams shows how she can single handled change a film for the better. Disappointingly the movie is let down by an over the top and almost hammy performance by the normally excellent Christoph Waltz. Although he succeeds in the manipulating side of Walter, his cringing cross examination of himself on the stand gives Burton's film a bad after taste.

It may not be Burton's great piece of work, but Big Eyes is still a movie that is worth viewing because it is incredible how one lie can define the course of somebody's life.

A Hard Resolve: Review of Unbroken

Unbroken

Director: Angelina Jolie

By Alex Watson

Angelina Jolie makes an unexpected appearance behind the camera this week as she tells the story of an incredible individual. Olympic runner Louie Zamperini survived not only being stranded at sea during World War Two but also endured incredible hardship at the hands of the Japanese. His death this year at the age of 81 was the end of a life less ordinary. The story of his journey is revealed in Unbroken, but is Jolie up to the task as a director?

Louie Zamperini (Jack O'Connell) after coming to fame running in the Olympics is shot down whilst flying over the Pacific. After a difficult and life changing 47 days out in the ocean, Zamperini is captured by the Japanese. But in the POW camp, his troubles are only just beginning and commanding soldier Mutsushiro Watanabe (Miyavi) has taken a special interest in his prisoner.

Unbroken is an effort which does show some nice touches and visual flare by Angelina Jolie, but as such it is not a perfect effort. Aided by veteran cinematographer Roger Deakins' beautiful photography, her portrayal of Zamperini's struggle is one that although very honest also lacks the required charm and warmth. Starting in a thrilling fashion, we see LZ and co locked in a tense flight whilst on a bombing mission- their crashing landing alone deserves a citation! The never say die spirit is present early but it isn't enough to carry the film.

Interspersed with some flashbacks between Zamperini's tough childhood of petty crime and discrimination in Torrance, California and his impressive debut whilst running at the 1936 Berlin Olympics (where he set the fastest lap record). Jolie does shed some light on his motivation, but it doesn't feel nearly deep enough for us to feel the complete effect. The crews time adrift at sea is one area which does create a feeling of strive and whilst accompanied by his equally resolved crew mate Phil (Domnhall Gleeson) they are literally on hell in high water. The moment the Japanese ship appears to rescue them, Louie can only croak “I’ve got good news and I’ve got bad news…”

The scenes that show his sadistic torture by Watanabe are no doubt hard felt and the after effect is a harsh one. But there is too much over use of this particular element and although it heightens the sexual thrill that Watanabe often got from beating prisoners, it feels a step too far. Zamperini is portrayed as more than just an ordinary hero and there is a bit of gushing sentimentality which makes him out to be some kind of martyr figure for the troops which is the wrong kind of approach.

Jack O'Connell performance though is one that does succeed in carrying the film because in a physically demanding part, he is able to capture the spirit of Zamperini. After making a frightening impression in last year's Starred up, O'Connell is on the threshold of the big time and one day soon his dues will be paid. Able support is giving by the continually excellent Domnhall Gleason and Garrett Hedlund, but Japanese pop star Miyav is stranded in a disappointing one note role as the evil guard Watanabe and sadly he is reduced to almost pantomime type villany.

Unbroken is a movie that in the right hands could have been a bold and memorable story of survival, but in Jolie's hands it is only just acceptable. There are signs of life for Angelina's new calling as director and time will tell if she is due for a life behind the lens.