Four Walls: Review of Room

Room

Director: Lenny Abrahamson

By Alex Watson

Capturing hearts and the Viewer's Choice prize at the Toronto Film Festival, Lenny Abrahamson's adaptation of Emma Donoghue's Room is an emotional whirlwind. Intensely harrowing throughout, Abrahamson helped by some gritty and concealing cinematography by Danny Cohen give the 11 x 11 prison a hopeful feel. However, as we expand into the wider world, we see the at times beautiful naïvety of youth and asks some big questions of how we can survive in this big world? 

Ma (Brie Larson) is has been imprisoned living in a tiny room for seven years with her five-year old son Jack (Jacob Tremblay). Her captor known only as 'Old Nick' (Sean Bridgers) provides them with food and supplies while Ma keeps her boy happy and healthy with physical and mental exercises. For years she has shielded him from the bitter truth and pretend that 'Room' is the world. Soon fed up of the suffering and abuse, Ma devises an escape plan. As they re-enter the real world, both will find the experience harder than they ever could have imagined. 

The principle strength of Room lies on the excellent characterization of the two leads, Ma is a woman stripped of her innocence but loves her son unconditionally. She is a resourceful woman who seems 

to find fun things to do out of nothing. Together the pair makes a snake made from string and eggs shells. Jack is a sweet, smart and dynamic ball of energy who despite his set back is well versed. Each morning he greets such average objects as the sink and wardrobe as if they were living things. Soon it becomes clear that the world outside doesn't even register and this enclosed space is the only thing he knows. He is also the very air that she breathes and her only reason for carrying on in this world. Old Nick regularly forces himself upon her while Jack pretends to sleep in a closet. Through limited perspective, Abrahamson succeeds in making these encounters thoroughly tense and uncomfortable. 

After Old Nick soon becomes more threatening due to some unfortunate news, Ma realizes that escaping the four walls they have called the world is the only chance they have to survive. Problem is that Jack knows nothing of the world outside and at first he assumes his mother is playing a trick on him "I want another story!" he cries when she breaks the news to him. This section of one of the most profoundly affecting because how do you explain to your own son that this whole life has been a lie? Re-entering society proves far tougher than the escape itself and Ma takes it hardest of them both. She finds her mother (A revelatory Joan Allen) has left her father and taken up with gentle and kind soul Leo (Tom McCamus). Her Father (William H Macy) is unable to deal with her reappearing and is unable to look her son in the eye. 

The second half of Room is undoubtedly Jack's story as he learns to live in a far bigger world than he anticipated. At first his new surroundings terrify him and he longs for the comfort and safety of Room. As time progresses he learns to become a normal and curious boy and Abrahamson cleverly gives events a bright and hopeful feel. Leo and Grandma's presence is also key in his adaptation as they gently encourage him to embrace this scary new place. Ma grows increasingly distant and closed off as the media attention builds and she spurns all offers of comfort. The trauma of her seven-year captivity is hard-hitting and transforms her from being the kind and determined mother to a more needy and conflicted soul. 

Brie Larson is odds on for nominations at awards season with a performance that transforms the entire film. Through an astonishingly honest performance, we see Ma's refusal to lie down and accept her fate. Larson is able to wring every last drop of emotion from her audience and is a powerful and stirring figure. Jacob Tremblay is the perfect match for Larson and through a naturally gifted performance, he brings this bright and courageous being to life so well it never once feels as if he is acting. Together these two are the power cell that makes the movie glow so bright. 

Room is one movie that will transform its audience in 2015 and even the toughest and coldest of hearts will melt. A mother's love knows no bounds, but the will to carry on survive is equally as powerful.  

This Ole House: Review of Crimson Peak

Crimson Peak

Director: Guillermo Del Toro

By Alex Watson

After some hit and miss efforts, Crimson Peak is the movie that finally makes the North American transition that Guillermo Del Toro fans have longed for. The Mexican maestro doesn't go for a conventional gothic horror tale and for some tastes this might not suit. However on design and creepiness alone, Del Toro scores big and gives his fans a very unusual Victorian romance. 

Budding American novelist Edith Cushing (Mia Wasikowska) finds herself quickly falling in love with British baronet Sir Thomas Sharpe (Tom Hiddleston). Moving to their residence Allerdale Hall, she finds his sister Lady Lucille Sharpe (Jessica Chastain) less than welcoming. Soon it becomes clear that this house has more than three residence and some ghostly spirits are issuing a warning to her. But just what is the danger that Edith faces? 

From the moment the Sharpe's enter Crimson Peak, it becomes apparent that all around them except Edith have an uneasy feeling about them. Del Toro gives us the typical set up, innocent young woman is swept off her feet by a dashing yet suspicious man and soon things go south. It isn't until we reach the dilapidated and sinking Allerdale Hall that we realize the true risk Edith faces. Sitting on top of a mountain of red clay, the stuff seeps through the floor boards like the spilled blood of the past. Throughout the spooky corridors there is a haunting and surreal atmosphere where blowing wind and creaking pipes make us squirm Lucille appears less than thrilled at the new addition and both have a hidden agenda. 

The ghosts given to us are ones that are both very unique and truly unsettling. Del Toro gives a wonderful gothic feel to events and it feels like a nod to the old Hammer horror films. Watching a mangled red skeleton ghost emerge wailing from the floor boards is just one of the jumpy moments we have in store. Never once is there a malevolent feel to these spirits and they act more as a guides than vengeful beings seeking their eternal reward. These creatures enhance our suspicions that the Sharpe's aren't in this marriage for love alone and we wonder precisely how Sir Thomas' fancy digging machine fits into everything? 

Crimson Peak's later act may descend into what is a rather campy and OTT finale, but not once does it feel ill-suited. Thanks to some marvelous production design, this old Victorian mansion captivates us each minute we spend between the walls. Stranded in the middle of a Cumberland moor, Edith has no escape and the hopelessness of this situation adds needed suspense that slowly builds like the rising red clay. 

One of the principle strengths is having a cast that is on point and Mia Wasikowska again proves she can anchor a film well. Playing against the typical helpless heroine, the Australian actress gives her character a hard resolve and a brain that is forever ticking. Tom Hiddleston gives a performance that has become second nature to him. As Sir Thomas he is impossibly charming but underneath the façade Hiddleston shows us a scarred and ultimately complex being that is wrestling with the choice he  has made. Jessica Chastain shows us a side of her we are unaccustomed to seeing. A forbidding and malicious presence, Chastain makes a room feel icy cold when she enters. There is also a sense of control that she has asserted over Sir Thomas, but how deep does it go? 

While it may not match up to his superior early offering such as Pans Labyrinth or The Devil's Backbone, Crimson Peak is undoubtedly Del Toro's best North American picture so far. More unsettling that terrifying, GDT take us into a world where love is forgotten and cries of forgotten souls lurk on the air.

The Innovator: Review of Steve Jobs

Steve Jobs

Director: Danny Boyle

By Alex Watson

Although it lacks the needed back story about the rise of one of this centuries greatest innovators, Steve Jobs is still a fine picture by Danny Boyle. Aided by a typical talkative Aaron Sorkin script, events play out like more of a three act play than a cinematic piece. Jobs is not made out as likable by any means but his dedication and ambition to his craft is always admirable. His relationship with those around him however, gives his life a more strained feel.

Examining three very significant events in the life of Steve Jobs (Michael Fassbender) such as the release of the ill-fated first Apple Macintosh which would lead to his dismissal. Through these moments we witness the fiery determination and the towering ego which although brought him worldwide admiration, also alienated him from those closest to him. 

Steve Jobs gives us a breathless opening inning where the clock counts down to the first launch of the Apple Mac in 1984. Jobs is fiercely determined to make his beloved machine speak 'Hello' to its audience. On display in this sequence is a complex array of emotions as Jobs berates, charms and threatens his 'Work Wife' Joanna Hoffman (A terrific Kate Winslet) and engineer Andy Hertzfeld (Michael Stuhlbarg). In this sequence we also gain a window into his human side and more importantly, his stubbornness. Jobs refuses to accept that his daughter Lisa is his child even though it has been proven. Her mother Chrisann (Katherine Waterston) cannot fathom the reason for this rejection and Jobs clings to the same algorithm that 28% of population could be the father. 

Danny Boyle doesn't set out to make Jobs any kind of Martyr figure and in truth he is both hero and villain combined. Despite warnings from Joanna such as “If you keep on alienating people for no reason, there will be no one left to say ‘Hello!’Jobs' ego makes him pay the greatest price. After he irreparably strains his relationship with Apple co-founder Steve Wozniak (Seth Rogan) and CEO John Sculley (Jeff Daniels) due the failure of the Mac and his refusal to acknowledge the success of the Apple II- he is inevitably forced out. Rather painting this as a revenge or redemption piece, Boyle instead focus on the man himself. Through this he lifts the lid and reveals the self-doubt that Jobs feels within himself, perhaps brought on by his adoption as a child. 

For all its merits, it does feel disappointing that Steve Jobs only focuses on the early years and not the breakthrough products such as the iPad. We are only briefly given windows into the early life of Jobs which although provided momentary glimpses of a far different man is not nearly enough. Boyle focuses on the technical innovation that made this man an almost god like figure to the people who brought products. Jobs believed that computers should almost be as a friendly as people themselves and his perfectionism that angered colleagues was because he believed something . There are subtle hints towards the future products that would cement the Apple name, such as his preference for all rectangle corners be rounded. In the end, Boyle does a great job of making a difficult persona into something fascinating. 

As the man himself, Michael Fassbender proves the perfect jobs as the Apple impresario. Effectively channeling his insecurities with himself along with his sophistry, Fassbender holds the movies centre with such force that eclipses all others. By far one of the best leading men this year, this could be movie another Oscar nod coming right up. Kate Winslet refuses to get upstaged by Fassbender and rings in her own fine turn as the dry humoured Hoffman. In a dowdy and more low key performance, Katherine Waterston wins the most sympathy as Chrisann Brennan, a woman struggling to raise the very daughter that Jobs frequently rejects. 

Steve Jobs might not be a movie for everyone to appreciate, but the sheer power of its central performance lights up the picture. David Fincher may have rejected the chance to bring Jobs to the screen, but Danny Boyle has proven to the perfect man to do so.

Finding Neverland: Review of Pan

Pan

Director: Joe Wright

By Alex Watson

You really want to love Joe Wright's movie Pan and on a technical level this is a beautiful adventure that brings the Neverland to life in a way never seen. Tragically underneath the dazzling façade lies a painful and very misguided picture. Wright who so wonderfully entranced in his film-making magic in Anna Karenina and Atonement feels literally all at sea. Despite Hugh Jackman taking large bites out of the scenery, this movie cannot make up for the lack of character depth which sinks this lifeless prequel to the mermaid filled waters below. 

Peter Pan (Levi Miller) is an orphan living in London during the WWI, abandoned by his mother Mary (Amanda Seyfried) he still hopes to reunited with her some day. Snatched from his bed along with other boys by pirates and transported to Neverland. There he discover a land ruled with an iron fist by pirate Blackbeard who forces them to mine the land for fairy dust. Through random events he becomes acquainted with an ambitious miner, James Hook (Garrett Hedlund) and a warrior princess named Tiger Lily (Rooney Mara). 

Possibly the worse crime about Wright's take on JM Barrie's world is that the story in Pan is so torn to pieces we have no idea what we are viewing? Hook in this one feel like a cookie cutter version of Indiana Jones (complete with Fedora hat) who is more of a jerk than a franchise changing villain. Peter Pan comes off as a rather smart mouth street punk. In the opening ten minutes we see Peter taken from London by a flying pirate ship that transports him to land where a crowd singing 'Smells Like Teen Spirit' by Nirvana greets them. Wires become frantically crossed and as annoyed parents stare at the screen is disbelief, your faith in this picture has disappeared before you know it. 

From a cinema perspective the world is gorgeous to look at and the photography by John Mathieson and Seamus McGarvey injects some life into an otherwise dull affair. There are moments that give this movie some fun, Hook in this picture is afraid of crocodiles. Wright seems to have to keep us blind to the wreck that lies beneath the coat of gloss. Story wise there is little to really arouse the mind, although the side plot of why precisely Blackbeard wants the fairy dust so badly so give a darker undertone. Tiger Lilly is given little purpose in this movie and Rooney Mara in a one note role becomes wasted. Her headdress is interesting but they reduce Tiger Lilly to simply acting as a story-teller than a warrior princess. 

This lack of development hinders the film and the splicing and dicing of ideas creates a whole new beast. Wright shows he has taken notes from the Avengers but having a finale based up in the air. After two hours of shifting in our chairs, finally we are given so vague entertainment as Peter leads the fairies in an attack against Blackbeard. Reaching this point takes sheer will power and as you often eye the exit door there is a blessed relief when the credits finally roll. Though your heart does sink when you realize that there will likely be another outing in the pipeline.

Hugh Jackman has a ball playing the theatrical Blackbeard, but sadly he feels so over the top that it feel his lid blew away long before. Although he does giving a decent campy menace, this is not one of Jackman's finest outings. Levi Miller does a good enough job as the young rascal Peter and his youthful sense of wonder enlightens things some. Garrett Hedlund on paper should have made a fine Hook, but his role is one that is criminally underwritten. Hedlund has some great moments of humour but enough to record the save. 

Pan is an effort that wasn't entirely necessary from Joe Wright and despite some clever visuals we are left with a rather embarrassing picture. I can respect his want to bring a new spin on heavily adapted tale, but his jokey and strange approach to this prequel will only alienate hardcore fans.  

Last Days of Mars: Review of The Martian

The Martian

Director: Ridley Scott

By Alex Watson

As it stands The Martian might just be Ridley Scott's most exciting and enjoyable movie of the 21st century. This tale of an astronaut defying the odds to survive on a planet not known for accommodating human is a riveting experience. After some awkward earlier efforts such as Prometheus and The Counselor, Scott shows that he definitely still one of the top directors around. The winning ingredient to this whole mix though is the cracking script by Drew Goddard which successfully meshes a wicked sense of humor a gradually increasing panic. 

Mark Watney (Matt Damon) is an astronaut stranded on Mars after being assumed dead when he disappeared during a colossal storm. Knowing that a rescue mission is years away, he must use every bit of intellect he can muster and attempt to survive. Back home NASA and its director Teddy Sanders (Jeff Daniels) face a logistical nightmare. How do you bring back a man from such a far distance without a heavy risk? While Watney begins his impossible scenario, his crew led by Melissa Lewis (Jessica Chastain) are still plagued by guilt leaving him behind. 

Almost borrowing moments from Duncan Jones' excellent film Moon, The Martian is mainly our lead character having solo conversations. Watney is a likable and mesmeric lead who even in the face of insurmountable odds is still able to crack a smile while he "sciences the shit" out of this planet. When left for dead when a deathly storm hits, instead of just giving up he miraculously discover he can survive by growing potatoes by using the body waste of his abandoned crew. Against the beautiful and enticing red dust of mars, Watney is able to capture our sympathies, fears and hopes during his diary entries. All the while mocking the disco music collection left by Lewis. 

Back on earth is where the real panic sets in and as Sanders debates with Mars Director Vincent Kapoor (Chiwetel Ejiofor) on the pros and cons are attempting a rescue. This segment is where Goddard's script really shines and despite being very technically heavy there is a fun and exciting against the clock feel. For each bit of progress, there is always a major downfall waiting round the corner (note: always do inspection tests for probe flights). Although Hermes director Mitch (Sean Bean) passionately and vehemently argues for his crew, you get the sense that NASA is more concerned about the PR risk about a failed rescue than the cost of the actual mission.  

When The Martian moves into the closing stages, it provides a adrenaline injection that has been sorely lacking in Scott's recent efforts. Figuring out the precise way to make sure that Watney is not missed by his crew members may be like having a maths and physics lesson crammed into one but it is also damn entertaining. Fatigued by years spent on Mars, we can feel the fierce desire by this man to just get home. Although we hold out hope things will ok, there is still the small factor of the lives of his crew mates? If even one minor thing goes wrong it could mean that six lives not one perish in the depths of space. 

Matt Damon has proven the perfect choice to handle this star vehicle almost unaided and he gives a masterclass in holding on. Watney unlike his other crew mates is a trained botanist and is able to use brains that no one back in Houston is able to use. Damon shows that he is worthy of a nomination come Oscar time. Jessica Chastain is also excellent in her reduced role and gives an excellent demonstration of repressed grief. Lewis is firm but fair leader but not one who believes in going by the book. Jeff Daniels shows just why he is one of the more reliable actors around with a fine turn as conflicted NASA director Teddy Sanders. 

The Martian might be a long and at times might feel like your head has taken a panel beating. For pure thrills and great story this is one of the best experiences you will have in 2015. For anyone attempting space travel in future this is a survival guide to pay attention to.

A Stranger In My Home: Review of Goodnight Mommy

Goodnight Mommy

Director: Veronika Franz and Severin Fiala

By Alex Watson

Austrian directors Veronika Franz and Severin Fiala have created a really hypnotic and gut wrenching thriller with their effort Goodnight Mommy. Possessing an eerie and distorting ambiance from the opening frame, Franz and Fiala superbly blur the lines between real and fantasy. What makes this thriller so effective is that we are continually second guessing our own assumptions and theories even after the closing credits. For those looking for a feel good story of a family reconnecting, best stay away from this one. 

After undergoing facial surgery, a mother (Susanne Wurst) returns to a secluded luxury house in the countryside to recover. When she reunites with her boys Lukas (Lukas Schwarz) and Elias (Elias Schwartz) she soon displays some unusual character changes. Before long Lukas becomes convinced that the woman beneath the bandages is not their mother but an impostor. As they set out to prove their theory correct, lines will be crossed that could potentially be fatal. 

From the moment that the mother returns home, it is clear that this family has become heavily fractured. The big question in Goodnight Mommy comes forward relatively early and this is good timing from Franz and Fiala because it forces the audiences to start playing their own version of detective. Is this woman really a fraud? There are simple but effective signs to enforce the argument, mother has become more distant and short-tempered and enforces more discipline. Also during an easy game of Guess Who she forgets facts about her own identity. Could this be just after effects from surgery? Or is there something far more sinister lurking underneath the surface of this heavily disguised woman? 

As events play out we are always doubting which scenario we want to believe. Could their mother have maliciously killed the cat the boys rescued? Also what is the reason behind ordering over a years supply of food? All this and more gives this picture a gradually building unease which by the movies climax becomes almost suffocating. The boys are now absolutely afraid of their mother and she now refuses to acknowledge Lukas for an unknown past trauma. What has happened to the loving mother who would sing to them as children? What starts as a beautiful and carefree summer surrounded by the glory of nature turns into a chilling nightmare when the kids go indoors. 

A gruesome and painstaking finale is the result of 100 minutes of pure tension as the boys descend into torture to get the information they want. Their mother is tied to a bed and we see her burned with a magnifying glass and see glue added on some sensitive areas. In this sequence, any sympathy or loving concern we may have felt for these two boys are thrown out the window. Through a delightfully ambiguous style, Fiala and Franz give us red herrings that could prove decisive to the outcome in act one. When the suspicions and gradually rising malice come full circle, we are given a nasty taste to finish on. 

As the twins real life brothers Elias and Lukas Schwarz are a real representation of good and evil. Beneath those innocent eyes there beats the heart of a real monster. As the movie progresses their attitude turns from worried to almost psychotic by the crescendo. A presence that wouldn't look out-of-place in Michael Haneke's world, the Schwartz brothers are a revelation. Susanne Wurst also stakes her own claim in the presence department and although heavily bandaged throughout, she is a lurking and ominous figure. 

Franz and Fiala have made a movie that is probably odds on for being one of the most uncomfortable experience of 2015. Goodnight Mommy is a movie that will have the gears of your mind ticking constantly even as you exit the darkened theatre. Beware the minds of children, they are a dangerous weapon.