My Darling, My Blood: Review of Manchester By The Sea

Manchester By The Sea

Director: Kenneth Lonergan

By Alex Watson

Very few pictures have channelled grief better than Kenneth Lonergan's Manchester By The Sea. Casey Affleck is outstanding as a man afflicted by his past and now forced to play guardian. A highly charged emotional feel is what makes this outing so memorable. Lonergan after impressing with his 2000 piece 'You Can Count On Me' once more is able to show how deep family roots go. Coping with your grief can be a crippling experience, but all throughout we hope for our hero to find his way back.

Lee Chandler (Casey Affleck) is a janitor in Boston who is unable to move on from a tragedy that has scarred him for life. One day he learns that his brother Joe (Kyle Chandler) has finally died from congestive heart failure. At his will reading, Lee learns he has been made guardian to his 16-year-old nephew Patrick (Lucas Hedges). Forced to temporarily stay in his old hometown, he must contend with the painful memory of his past, particularly when he comes into contact with ex-wife Randi (Michelle Williams).

Lonergan's excellently slips and out of the present day and the glimpses we get of Lee's previously life are profoundly affecting. Lee is a man of very few words and struggles to personable with the tenants he serves. While he is a very capable worker, his lack of empathy and constant silence have lead to complaints. He also possesses an extremely short fuse and seems to slug anyone for the slightest of reasons. When a businessman glances at him in a bar, hell soon breaks loose. The happier times of old are a faint memory and Lee is shown to have been a happy man back in his old days. Scenes of him playing with Patrick on Joe's fishing boat radiate joy. When his brother was diagnosed with heart failure, this more than likely lead to Joe's ex-wife Elise (Gretchen Mol) becoming an alcoholic and abandoning them. Though a loving and playful family man, the heartbreaking tragedy that meets him fully explains his descent into solitude. One unfortunate error leads to something no parent should ever have to deal with. The scars of this event hang on Lee's face throughout and Lonergan does a wonderful job of showing his discomfort.

Arriving back in Manchester, Lee feels out of place among his family immediately. The bitterly cold sea breeze and snow covered scenery echoes painful memories of his past. Unprepared for the shock of assuming guardianship of Patrick, Lee is barely keeping afloat. His nephew is a popular teen who is a hockey star, in a rock band and trying to sleep with two different girlfriends. The conversations between the two are the real power of Lonergan's film. Slightly aloof and unable to force a connection at first, the dialogue sounds genuine and has a fantastic strain to it. Patrick willingly uses his uncle as a Taxi service while keeping a brave face on this tragedy. Playing the role of surrogate Dad causes Lee to feel out of his comfort zone. Frequently he spurns the nice offers made to him by others and delves back into his reclusive side. Lucas is dedicated to keeping his father's boat going, Lee doesn't appear to agree and think they should just rent it out.

While the pair might not be fast friends, they are still the only people who can heal each other. One touching scene comes when Patrick finally begins to experience grief and Lee refuses to let him be alone. While his uncle might not always be the most clued-in person to his needs, he knows when to recognise pain. Lonergan's movie isn't about happy reunions or families solving their differences, it's about people dealing with suffering the best they can. Lee might never shake the problems of his past, but he still shows a genuine desire to know Patrick. Running into Randi is like being hit by a freight train. While she insists that she still loves him and regrets the way their marriage ended, Lee cannot bear to be reminded of the life he left behind. This brief encounter has such power that it may shatter our hearts into pieces. All the way through Manchester By The Sea there is tension whenever Lee gets worked up. More likely to use his fists than use logic, some ugly scenarios rear their head. Lonergan's movie is about how families connect with each other, how blood is thicker than water and how human's deal with emotion.

Casey Affleck gives the performance of a lifetime as Lee, a man being forced back into an old world before he is ready. A stark and emotional turn, Affleck is able to make the most of his character's imperfection. Lee is a quiet and introverted man who doesn't thrive on social interaction. Forced to become a father figure again is one that takes all his might and every minute wears on him. This is his finest work since 'The Assassination of Jesse James by the Coward Robert Ford'. Affleck gives the strongest performance of this year and is rightfully odds on favourite for Oscar glory. Lucas Hedges makes for great support as Patrick. While a ball of teenage energy, his amazing ease at accepting his father's death shows his character strength. While Lee might frustrate him, Patrick also recognises that he needs an authority figure right now. Michelle Williams could also be in contention with a whirlwind supporting turn. From the moment she enters, her presence is earth shattering and Lee's ghosts are brought to the surface. A powerful turn, Williams makes full use of her limited time on screen.

Manchester By The Sea is a powerful masterpiece by Kenneth Lonergan. Families might stray, but our hearts will always stay connected.

Fierce Creatures: Review of Nocturnal Animals

Nocturnal Animals

Director: Tom Ford

By Alex Watson

In just his second feature, Tom Ford has created something remarkable with Nocturnal Animals. A psychologically jarring piece, the ugly side of marriage and revenge is uncovered. Injecting multiple stories into a film can often be problematic. Ford makes each different chapter so essential to the film's feel. With riveting turns from both Jake Gyllenhaal and Amy Adams, this is one of cinematic experience that will leave you thinking for days.

Susan Morrow (Amy Adams) is a wealthy yet troubled owner of a Los Angeles art gallery. Her marriage to philandering husband Hutton (Armie Hammer) is failing and she questions her passion in life. One day she receives a manuscript from her ex-husband Edward Sheffield (Jake Gyllenhaal). The book entitled 'Nocturnal Animals' is a disturbing and possibly true account of revenge. The more she reads, the more Susan finds herself revisiting her old marriage and the harsh way in which she ended it.

Nocturnal Animals is a revelation because storywise because it seems impossible that all fits together. Beginning with an almost vulgar title sequence of a plump naked woman dancing with sparklers- Ford's intent to shock is clear from the start. Throughout the three different narrative's, all have their own unique factor to keep things interesting. When we first meet Susan it is made apparent that although she is rich and successful, her personal life is a mess. Constantly she lives in fear of turning into her domineering mother (Laura Linney) and is questioning her life choices. When she gets Edward's manuscript, which strangely is dedicated to her, Susan is reinvigorated. The novel tells the story of Tony Hastings (also Gyllenhaal) who while driving through West Texas one night is rammed off the road by Ray Marcus (Aaron Taylor-Johnson) and friends. This sequence is one of the most disturbing and tense imaginable as the lives of Tony and his wife and daughter (Ilsa Fisher and Ellie Bamber) are in the balance.

This whole manuscript appears to be a retelling of the bitter end to Susan and Edward's picture perfect marriage. They married as idealistic grad students against the wish of Susan's mother. Soon after it was revealed that Edward was little more than a dreamer and wasn't the strong person that she needed. Edward's bitterness towards their eventual divorce is laid out plainly in his book. Tony is a weak man who struggles to protect his wife from the clutches of death. Later in the book, he hooks up with unorthodox Detective Andes (Michael Shannon) who is determined to see justice. Revisiting her old life leads Susan to some hard truths. Although Hutton is the strong-willed husband that she always wanted, he is also just a playboy with a ring. The art that she has believed in for some many years has lost all value to her and now she is simply keeping up appearances. Edward has perhaps morphed into the successful and daring writer she always hoped, but why has he approached her?

Ford's fascination with the dark underbelly of humanity is what gives Nocturnal Animals its wonderful edge. Tony's descent from being a mild mannered coward to a bloodthirsty hound is utterly believable. Paralleling Edward's anger towards his unexpected life turn, both characters are filled to the brim with an unshakable sadness. Susan feels cold reading this story, but it also expands upon her regrets over the way their marriage ended. When the brutal act of betrayal is revealed, suddenly the content on Edward's novel become frighteningly clear. As Tony hunts down Ray, it feels like a Tiger slowly crawling out its cage. Tom Ford fills the air with unspoken hatred and these are some of the most memorable scenes imaginable. There is such raw emotion involved with this picture, it will make us all revisit past breakups and question our motives. Visually Ford's direction is a treat throughout. With such ease, he drags his audience into this world of pain and makes us unable to look away.

Amy Adams gives another mesmerising performance as Susan Morrow. On the one hand, she is a successful and confidence woman, but Adams gives her a deep anguish beneath her perfect appearance. Jake Gyllenhaal is marvellous twice over, as Edward, he is a headstrong idealist who is unable to read between the lines. Playing Tony, he is the loving family man being taken to a dark part of the soul. Gyllenhaal excellently embodies the movie's painful voice and gives a turn of such believable emotion that he steals every scene. Michael Shannon shows why he is one of the most capable supporting actors around. As Andes, he makes the most of his screentime. A detective with nothing to lose, Andes is concerned with procedure and would rather see Tony's enemy dead than go free. Aaron Taylor-Johnson is also suitably creepy as Ray and resists the urge to go OTT. This is one villain whose death we pray for.

Nocturnal Animals is one of the most unforgettable experiences that you might see this year. Tom Ford waited seven years for his return and his wonderfully crafted tale of revenge has been worth the wait.

Ordinary Love: Review of Loving

Loving

Director: Jeff Nichols

By Alex Watson

Jeff Nichol's Loving is a wonderfully low-key drama. This picture focuses on the length battle faced by Inter-racial Virginia couple Richard and Mildred Loving. Nichols refuses to go for the fireworks and stays true to the quiet determination of the couple. By letting their love and refusal to back down tell the story, we are given a pair of powerful lead performances. The couple's fight lasted over a decade and went all the way to the US Supreme court. This recounting of Virginia's unjust Racial Integrity Act marks an important event in US marriage laws.

Richard Loving (Joel Edgerton) takes his African-American sweetheart Mildred Jeter (Ruth Negga) to get married in Washington D.C. Although her family raises concerns over the trouble this could cause, both proceed with the marriage. Soon afterwards, the cops are tipped off and the pair is arrested. Eventually, they are forced by a court to move to Washington. Refusing to go quietly, Ruth writes to Bobby Kennedy to ask for help with their case- in turn, he refers lawyer Bernie Cohen (Nick Kroll) to them. What will follow will ultimately amend the US Constitution.

A pleasantly intimate movie, Loving is a picture that is not about big speeches or fiery courtroom scenes. Nichols refuses to sink into showing blatant racism and instead focuses on the troubles faced by a couple in love. When they first marry, Richard has no worries even though all around him are questioning his actions. One night they find themselves yanked out of bed by Sheriff Brooks (Martin Csokas) and hauled off to jail. Despite having their marriage certificate and being above board, they are simply told: "That's no good here!" It's never made clear who precisely has tipped off the cops? The accuser is not the focal point, it's the injustice that speaks loudest. To avoid jail time, the pair is forced to plead guilty and leave Virginia for 25 years. This separation for their families causes a huge strain on both sides of the aisle.

While the couple's personas on screen are only skin deep, they remain true to the real life characters. Richard is a man of few words who tends to mumble, Mildred is the warmer side to the to the couple. Although her husband wants nothing to do with the case, Mildred still writes for help. Bernie Cohen is an ACLU lawyer who although inexperienced with Civil Law, is still driven by the possibility of making legal history. The case comes second to the couple's story, the pair even refuses to appear at the US Supreme Court. Nichols is also able to litter his film with some fine moments of suspense during this stretch. Being followed by another vehicle on an isolated country road is bound to get the blood pumping. The pair returns to Virginia which could well see them jailed again. Unswayed by legal penalties, the pair is determined to raise their numerous children in their home state. The portrayal of the Loving's marriage does lack some depth. Despite their devotion to each other, we don't feel the warm glow we expected.

As the case picks up speed, the attention on the couple increases. Richard is visibly uncomfortable when forced to answer the questions reporters ask. The presence of Life Magazine photographer Grey Villet (Michael Shannon) also makes the couple feel awkward. Refusing to take centre stage, the pair shuns the publicity that the case gives them. This is the most powerful aspect to Loving because under normal circumstances we would see a couple passionately defending themselves to all. Richard and Mildred don't feel they need to justify anything,  their love speaks for itself. When asked what he wants to tell the Supreme Court judges, Richard matter of factly tells Bernie "Tell em' I love my wife!" Another point of note is how Nichols portrays people of the Deep South. He resists the urge to portray the people of Caroline County as a group of narrow-minded racists. Sheriff Brooks while disapproving doesn't feel the need to harras the pair. Richard's mother quietly states he shouldn't have married Mildred, but nonetheless helps deliver her child. Under normal circumstances, this would be big bait to telling a story of injustice. In Nichols view, everyone deserves a fair shot.

Both Joel Edgerton and Ruth Negga are simply fabulous as Richard and Mildred. Edgerton in particular rolls out his strongest performance to date. A man who lives by a strict set of morals, Richard's devotion to his wife is absolute. Often when faced with simply backing down and taking an easier path, Richard will reject it and fight on. Ruth Negga is a real stand out and the Irish-Ethiopian actress gives a heartfelt turn. Embodying the kinder and gentler side to the marriage, Negga carries the audiences worries and hopes forward. This is one performance will definitely kick start her career and you should expect this name at least to appear on the award circuit.

Loving is a movie that might be a slow experience for some, but Nichols is no great hurry to tell this tale. Those who stick with it will be reward by seeing one of the truly strong couples our time.

Close Encounters: Review of Arrival

Arrival

Director: Denis Villeneuve

By Alex Watson

Opening to an overwhelming hype, Denis Villeneuve's Arrival is an intelligent thriller and a breathtaking visual experience. A smart and thought-provoking script by Eric Heisserer fuels the picture and leaves the audience second-guessing.  Villeneuve cranks up the tension early on and gives his film and a great dramatic edge. For a film of this genre, there is a highly emotional feel which will capture the hearts of adults everywhere.

When 12 mysterious spacecraft arrive on earth, naturally humanity assumes the worse. Dr. Louise Banks (Amy Adams) is a world-renowned linguist who is approached by Colonel Weber (Forest Whitaker) to make the first contact with the species. Teamed with scientist Ian Donnelly (Jeremy Renner) they must assess whether the aliens intentions are hostile or peaceful. Fighting the clock both Banks and Donnelly must uncover why the aliens are here, what they find will change both lives.

Arrival is a slow burning affair as Villeneuve builds up the suspense to the first encounter. Banks is teaching a linguistics class when the aliens first arrive hovering over a field in Montana. She has previously assisted the army translating Farsi documents so when Weber arrives she already has security clearance. We learn that every 18 hours the aliens ship door randomly opens. Other scientists have attempted contact but are unable to make any sense of the bizarre ramblings. When Ian and Louise first step inside the ship, our stomachs tighten. Set against Johann Johansson's foghorn-like score we see a pair of tentacled creatures behind a gleaming wall. When the humans first speak, the aliens just throw back what appears to be random signs. Through Louise's intelligence, it begins to transpire that these signs might mean something else entirely. Nicknaming their cephalopod friends Abbott and Costello, both attempt to forge a relationship. Taking both linguistic and scientific approaches, Louise and Ian are split on what the signs could suggest?

Things are complicated by other nations perceiving the aliens messages as threats. China led by General Shang (Tzi Ma) are refusing cooperation. Other nations are also panicking about the discoveries they have made and wish to engage the aliens in warfare. This ticking time bomb threatens to disrupt the peace on earth and could lead to something potentially dangerous. Agent Halpern (Michael Stuhlbarg) is intent on following directions to the letter and his short-sighted approach is derailing all progress made. Louise is convinced that when the aliens tell them to "Use Weapon" it is a phrase that is misunderstood. Intercut with scenes from her past where she reminisces about the daughter she lost,  this ordeal is emotionally taxing on Banks.  As you will learn through Villeneuve's picture, not everything is as it appears. The bond Louise forms with Abbott and Costello is genuinely moving and you get the sense that her involvement here was meant to be. Around all the military and government personnel, she is the only one able to see the bigger picture.

Although Villeneuve lets his audience down slightly with a polarizing big reveal, the sheer amount of adrenaline during the final act makes up for it. With time against them, Louise has to resort to a bold piece of thinking to save the day. What follows is a poignant moment of discovery that changes everything we know. The realization of what is to come is heart rendering but also hopeful. Arrival is a love letter to the value of language and reinforces Louise's belief that this is "the cornerstone of civilization" Smartly Villeneuve expresses what power the values of words carry and how we need to understand the meaning behind them. Bradford Young's cinematography deserves credit too. His stark and gloomy photography gives this picture a hypnotic effect. During the first contact scenes, it's like looking a new and scary vortex of beyond. Denis Villeneuve is becoming one of the strongest talents in Hollywood and gives hope that his Blade Runner 2049 will give us the sequel we have always wanted.

One of the Hollywoods best talents, Amy Adams is having a career year. Along with Nocturnal Animals, Adams is very much the name on the lips of awards shows in 2016. Here she puts in a strong and ambitious turn as Louise Banks. A clever and fast thinking personality, Louise can see what no one else can. Adams also handles the emotional weight of the character well and gives her a depth that serves her well in the closing stages. All throughout there is no doubt that somehow she is connected to her alien counterparts. Jeremy Renner gives a solid supporting turn as Ian, a scientist who initially scoffs at her language beliefs. However, this is very much Amy Adams' picture.

Arrival is a spellbinding experience which will change what you think about alien encounters. Denis Villeneuve is a director who always finds a way to audience heart rate increase. Expect big things for Blade Runner 2049.

Hell in the Pacific: Review of Hacksaw Ridge

Hacksaw Ridge

Director: Mel Gibson

By Alex Watson

After years in the wilderness, Mel Gibson seems to be working his way back. His new project Hacksaw Ridge is a fitting tribute to our WWII veterans. Focusing on the story of Desmond Doss- who was awarded the Medal of Honor despite being a conscientious objector. Gibson's direction brings the man's strength of character to life. On the battlefield is where this picture scores highly and we are given the best war scenes since Spielberg's Saving Private Ryan.

Desmond Doss (Andrew Garfield) is a young man who wants to serve in WWII but his refusal to bear arms puts him at a disadvantage immediately. Superiors Captain Glover (Sam Worthington) and Sergeant Howell (Vince Vaughn) want him gone. Despite his brutal treatment Doss refuses to give in. Shipped over to the Pacific, Doss must contend the fiery hell of battle in Okinawa. Without firing a single bullet, Doss will show these men of war what courage really is.

Mel Gibson takes his time over telling Doss' story and the fast half of Hacksaw Ridge explains why he maintains his pacifist beliefs. Raising in rural Virgina to an abusive, alcoholic war veteran father (Hugo Weaving). His first experience with violence nearly kills his brother in a play fight. Reinforcing his belief in the sixth commandment, Doss resolves to never hurt anyone. He begins a cute romance with his future wife Dorothy (Teresa Palmer), a nurse at his local hospital. Their courting has a glowing innocence of youth and feels very much like the calm before the storm. When Doss enlists in the US Army and begins basic training, at first things go swimmingly but he refuses to pick up a rifle things get ugly. His purity of heart and self sacrificing are just the start of what will become a life altering experience. The early scenes between Doss and his father are like hearing the voices of the soldiers already lost, as his father begs him not succumb to same fate his his lost friends.

Called out by both Howell and Glover for his beliefs, Doss soon finds himself ostracized by his squad and deemed a coward. Glover fears he is damaging troop morale and cannot under why a pacifist would join a combat regiment? During this sequence we get a firm glimpse at his refusal to give in. Doss is beaten up, given extra duties, refused leave but still resolves to complete training. Even when faced with an easy out of military service, Doss still will not pick up a rifle. With a court martial pending it takes a piece of bravery for his afflicted Dad to save him from spending the war in jail. Doss' argumens about his right to serve will melt even the most stubborn of hearts. Although a proven team player and demonstrating sheer courage, he is frown upon by even the most senior officers. Continually bruised and scarred from his experience, Desmond emerges as a hero before he even sets a foot in WWII.

Arriving in Okinawa is where Hacksaw Ridge shows its true colours. As the troop watch the numerous dead bodies and shellshocked troops heading away, it is clear this is a place men fear to tread. Taking this island is all important and Glover explains this could swing the war towards Allied victory. Entering the battlefield, the nerves tingle all around us and surrounded by the ashes and fire of combat are the tenacious Japanese army. Be prepared for continual anxiety and claustrophobia because when the bullets fly this combat zone turns into hell on earth. Soldiers are ripped apart in moments and the men we have become familiar with are lying dead all around. Gibson doesn't hold back and his fascination on showing the guts and brutality of war bring us right into the horrific nature of war. Through his excellent direction, Gibson shows just how perilous Doss' sacrifices to save his comrades really was. Fearlessly diving into the heat of battle to drag another to safety while ankle deep in the insides and blood of the fallen- Doss keeps praying for the lord to just let him save one more. His display of bravery is rousing to the core and a true hero of the battlefield is born.

Andrew Garfield turns in an Oscar worthy performance as Desmond Doss. It is hard to imagine another actor that show the same kind of heart as this man? Garfield embodies the spirit of Doss and plays his character like he doesn't know the meaning of the word quit. With this and his role in Martin Scorsese's 'Silence' Garfield is on a career high and is a frontrunner for the awards season. Sam Worthington and Vince Vaughn also give as good as they can. Vaughn in particular is scene stealing as the loud Sgt. Howell. Hugo Weaving in a brief role in the one that is the most poignant. Weaving ably demonstrates the effect that war has on a man's mental state. His character is lost in a haze and feel confusion over what precisely his generation were fighting for when so many were killed?

Mel Gibson as a character might never be fully redeemed, as a director we forget just how great he can be with the right material. Hacksaw Ridge is a movie that puts him on the map again and there is no better man than Gibson to tell the story of Desmond Doss.

Strange Days: Review of Doctor Strange

Doctor Strange

Director: Scott Derrickson

By Alex Watson

While it may appear like Inception on acid at points, Doctor Strange is a thoroughly entertaining new Marvel adventure. With a stand out turn by the reliable Benedict Cumberbatch, this tale of sorcery is one that continually surprises us. Derrickson also has the psychedelic element down and over the course of the movie he drags his audiences to dimensions they couldn't possibly dream of. Watching this in 3D is worth the admission fee alone.

Dr. Stephen Strange (Benedict Cumberbatch) is a cocky surgeon known for his magic hands and ability to perform risk operations. After suffering a major car accident, his hands are crushed and the nerves are damaged, leaving him unable to practice. Strange quickly runs out of money finding a cure, until he hears of a place in Nepal that can cure people. When he arrives he meets the Ancient One (Tilda Swinton) who along with Mordo (Chiwetel Ejiofor) introduce him to a form of mystic arts.

Doctor Strange starts like any other origin tale, he is an arrogant doctor that burns through his cash on fast cars, expensive watches and thinks the good times won't end. He has a love/hate relationship with fellow Doctor Christine Palmer (Rachel McAdams) and she is possibly the one person who puts up with him. His car crash is an earth shattering one and Strange descends into near insanity trying to find a way to fix it. After being tipped off by a former patient, he heads to Kathmandu and looks for Kamar-Taj. Arriving here, the film begins to have fun with itself as Strange mocks the Ancient One and her beliefs. Moments later he is knocked out of his corporeal form and sucked into a dimension of vivid colours and crystals, this sequence is trippy to the core, especially when he arrives in a place where little hands start sprouting from his own hands. Arriving back to a smug smile from the Ancient One, you can literally feel his hand expand.

The principal threat comes from Kaecilius, a former student of Kamar-Taj who turned to the dark side of the arts. Seeking an alliance with a demonic force who promises eternal life, this where the story has its most fun. During these battles, we get some of the most awe-inspiring CG of 2016. Entire buildings change form, gateways to different locations are opened with the flick of a wrist and the possibilities are endless. A break from the Avengers norm, Derrickson seeks to give his audience a visual feast and we begin to question what we know of time and space. Big questions of the characters themselves also hang over the film, just how does The Ancient One keep her youthful appearance, will Strange be seduced by the prospect of eternal life? Although the story does drag in places, Derrickson is able to keep this picture on its toes.

Impressively for a third act, Doctor Strange is able to not to succumb to the typically overblown Marvel endings of late. Derrickson keeps things unpredictable during a Hong Kong set finale, where Strange attempts to go against what he has been taught to save the date. It also features one of the most unexpectedly hilarious sequences, keep a mental note of time loops during this movie it will come in handy. Strange is one character who you will grow to love despite his flaws because underneath his cocky exterior beats the heart of a true hero. This character in the wrong hands could have been a big mistake for Marvel, but Derrickson carries off with such finesse that it is hard to imagine this universe without him.

Benedict Cumberbatch shows his action hero chops and effectively carries off Strange's smug sense of humor. He succeeds admirably at building this character from the ground up during his recovery as he becomes a broken man in every sense of the word. Cumberbatch fits the character like a glove as he grows in confidence, so does his magical abilities. It will be fascinating to see what he does with more installments. Less fortunate are Rachel McAdams and Chiwetel Ejiofor, a great of great actors denied any kind of relevant screen time and given zero to do. Mads Mikkelsen also gets short changed as Kaecilius who is so underwritten that there is little threat to him. Mikkelsen is proven at playing villains and deserves better material.

Doctor Strange alongside  Captain America: Civil War is one of the stronger offerings Marvel will throw our way this year, this will be one piece that demands Blu-Ray purchase in future.

The Masterplan: Review of Oasis: Supersonic

Oasis: Supersonic

Director: Mat Whitecross

By Alex Watson

While it's disappointing that director Mat Whitecross doesn't go as deep as required, Oasis: Supersonic is still a thoroughly entertaining documentary that captures the mania, egos and music of Oasis' at peak form. The continual knife edge relationship between the Gallagher brothers is well presented because they were the factor that both drove and eventually killed the band. The brothers along with an impressive variety of other commentators make for some great and brutally honest storytelling. Ever 90's kid who still has their worn copies of What's The Story (Morning Glory) will go away with a big smile.

Both starting and closing at the now legendary 1996 Knebworth gigs where Oasis performed to over 250,000 fans over two nights, we see them on top of the world. As the opening chords to 'Columbia' begin to roll, it's like you are being transported back to a very special time. The brothers were continually at each other's throats, even during childhood when forced to share a room while being raised by their Irish mother in Burnage, Manchester. While Noel is on tour in the 80's with Inspiral Carpets, Liam forms the band along with guitarist Paul 'Bonehead' Arthurs, Paul 'Guigsy' McGuigan and drummer Tony McCarroll and Noel soon followed suit, making his presence felt immediately. Their rise to the top began with a real chance opportunity when they blagged their way into King Tut's Wah Wah in Glasgow and performed a gig to seven people. Just so happened that Creation Records founder, Alan McGhee was in attendance and signed them immediately.

One element to Oasis: Supersonic that Whitecross has pinned down is that he makes full use of the Gallagher brothers storytelling and this along with a series of animated sequences provide Oasis fans with what they need. From starting performing at the Broadwalk in Manchester, in such a short time they were under the tabloid spotlight. This pressure caused friction in the band almost immediately and in unflinching honesty, such as after making their first EP 'Definitely Maybe' almost nothing happened for two years. The first part of the movie does trace the band's origins and refreshingly portrays Oasis as a group of lads from a council estate who just liked smoking pot and making music. Their desire to just make money and sell records would ultimately make the difference. While there are disputes galore, Whitecross does delve into what precisely drove Noel's now famous lyrics, such as the fact that he wrote their debut song 'Supersonic' in a manner of minutes.

As Noel, himself denotes, "Trouble seemed to find us" and thoroughly this picture that it is very much the case. While Definitely Maybe became the fast selling album in UK history, the band made a name for their loutish behavior instantly. Both brothers gleefully tell the story of how their first ever overseas gig never took place due to Liam and others getting involved in a mass brawl on the ferry across. The sequences of their 'first trip in a jumbo' across to Japan and the USA are the most entertaining, the Far East is where Oasis had their first taste of superstardom and they clearly still love every minute of it. The US was a far more difficult experience as audiences at the height of grunge failed to really gear into the band's act. Their shambolic make or break gig at LA's legendary Whiskey-A-Go-Go where Liam was high on Crystal Meth was a rare bad side to their quick ascent. The tension on this leg forced Noel to briefly flee the band.

The continual simmering feud between the brothers is what fuels Oasis: Supersonic and Whitecross firmly uses this as the selling point. While there was a lot of violence, such as a lengthy sequence which denotes Noel attacking Liam with a cricket bat when he brought back people from the pub while Noel was recording. There is also an ounce of respect for each other "I wish I could rock a parka like that man!" says the older Gallagher. Liam's cocky attitude and Noel's more hard-nosed approach were like fire and ice in the early days, but neither would be where they are without the other. One key sequence sees the return of their abusive father Thomas, who surfaces during their Morning Glory high point with a journalist during a gig in Dublin. Liam wants to knock the seven bells out of father and his abuse has long afflicted him, Noel, however, is there talking his little brother down and forcing him to take the high road. This display of brotherly love gives us a glimpse how deep the bond between the two goes.

While for the most part, Whitecross' picture is an entertaining affair, this rose-tinted view of the Oasis heyday gets frustrating. Yes, it is still glorious witnessing the music and live gigs at Maine Road during their peak. Not once does he delve into their notable 'Cool Britannia' rivalry with Blur or the time Noel stated he hoped they 'die of AIDS' or the decline that started with their overblown third album 'Be Here Now' The picture ends with the band on top after their Knebworth shows and there is no hint towards the eventual decline and animosity that would lead to the Brothers final fall out before a 2009 gig at Rock En Seine in Paris. What could have been one of rock's most potent doc pictures is annoyingly incomplete and while Whitecross clearly has a ball showing the band's glory days, you end up feeling like Noel after his Brit Awards triumph in 1996 shouting "NO, I WANT MORE!"

Oasis: Supersonic is a movie that leaves us mostly satisfied and will give its fair share of belly laughs. The Gallaghers make for great commentators and seeing Britpop at its highest does bring back great memories. If only, Whitecross had gone deeper this would have been one of the pieces of the year.