We Gotta Get Outta This Place: Review of Lady Bird

Lady Bird

Director: Greta Gerwig

By Alex Watson

Greta Gerwig emerges as a talent to watch behind the camera. Lady Bird is a picture that sparkles and gives a deep yet hilarious look at the angst of youth. Dealing with people experiencing an identity crisis and the typical back and forth arguments between mother and daughter- Gerwig's movie feels refreshingly real. Although alongside the laughs there is a heavy emotional core that will audiences all the way to the bone.

Sacramento teenager Christine 'Lady Bird' McPherson (Saoirse Ronan) is a high school senior who desperately wants out of her modest California life. Eager to leave home for illustrious college's on the East Coast, Lady Bird continuously bickers with her mother Marion (Laurie Metcalfe) over her future plans. Her family is facing a crisis since her father Larry (Tracy Letts) has been laid off. Although she is capable- Lady Bird must do far better to reach her dreams.

Early on in Lady Bird, Gerwig gives a close-up example of the problematic relationship between Christine and Marion. We first see the pair returning from a college tour crying over an audio tape of 'The Grapes of Wrath'. Initially, the pair lovingly reflects on it. Within moments, Marion is nagging her daughter over her apathy about her future which soon descends into her berating her to the point where Christine physically jumps out the vehicle. Marion is a character wracked by self-doubt and anxiety and her failure to inspire or connect with her daughter pains her. By no means is either character completely likable-Christine is a fiercely independent creature who chafes under the rule of her underbearing mother. Desperate for life on the East Coast where 'writers live in the woods' Christine attempts musical theatre as a way of boosting her college prospects.

Set in 2002 during Bush's America, money and wealth is also a talking point in this picture. The McPherson's are a family barely holding their head above water. Larry has struggled with depression and being out of work has put a huge financial strain on them. Despite this, he is still willing to help his daughter with her financial aid forms. When Christine befriends wealthy and popular Jenna (Odeya Rush) she pretends she lives in a big luxurious house in an affluent neighbourhood. Gerwig puts a good spin on the pain, angst, and joy or teenage crushes. Danny (Lucas Hedges) appears to have it the complete package- wealthy, handsome and from a close-knit Irish-Catholic family. However, in one subtle yet brilliant reveal, Gerwig superbly shatters Christine's portrait of him. Dreamy rocker and wannabe philosopher Kyle (Timothée Chalamet) is the boy who seems so wrong to us but a figure of aloof desire to her.

Lady Bird is heavily inspired by Gerwig's own experiences before going off to college. This is the element that makes her directorial debut feel so raw and real. Christine and Marion are the driving force of the movie and this is possibly the most realistic mother-daughter depiction you will ever see. Marion only wants the best for Christine- but that doesn't stop her from continually observing her flaws and picking her unrealistic expectations. Christine is also blind to just how much work her mother puts into keeping the family together. Though Gerwig is always careful to remind us how each insult comes from a place of affection. Few debuts are as assured or genuine as this one- being the best-reviewed movie on Rotten Tomatoes in 2017 speaks volumes

Irish actress Saoirse Ronan once again is on firecracker form as Christine. Perfectly channeling her character's desperation to be something other than ordinary, Ronan is well cast. One of Hollywood's strongest young actresses, the 23-year-old never seeks for us to love this character- only to understand where she is coming from. Laurie Metcalfe should be the favourite on every person's supporting actress list. Known to audiences from her time on Broadway and as Sheldon Cooper's mother in Big Bang Theory. Metcalfe gives a supporting turn of sheer power and immense depth. Her Marion is a character that is always criticizing her daughter's choices. Through Metcalfe, we come to realize her words although cutting are actually being said of out love. 

Lady Bird is more than just a critic's darling this award season. Few indie efforts feels as polished or emotionally engaging as this one. Another hit for A24, who have been the studio to beat this year.

All Aboard: Review of Murder on the Orient Express

Murder on the Orient Express

Director: Kenneth Branagh

By Alex Watson

Agatha Christie has never looked so stylish. Kenneth Branagh gives his audience an enjoyable ride in Murder on the Orient Express. Showing some neat visuals and generating some lovely moments of mystique on board the cramped rail coaches. But despite sporting a wonderful heavyweight cast- we can't escape the fact that the needed tension is disappointingly absent. Branagh adds style and finesse- but this fails to really add anything new to an already well-covered story

After successfully solving a mystery in Jerusalem, world-famous Belgian detective Hercule Poirot (Kenneth Branagh) decides to take a mini holiday on board the Orient Express. While onboard, suspicious American businessman Samuel Ratchett (Johnny Depp) is stabbed to death. Although wishing to stay out of it, Poirot is the only man on board who can find the killer. This will be his most challenging case yet because all the passengers seem to have their own past demons.

Murder on the Orient Express is a very beautiful looking movie- thanks in part to the colorful and scenic photography by DP Haris Zambarloukos. Branagh definitely has the look of the era down and he is clearly having a ball playing the egotistical but brilliantly minded detective. Nailing down the more tricky aspects of his persona (including his obsession with having two perfectly symmetrical eggs)- Poirot is a nemesis for any criminal. When the passengers are loaded onto the train in Istanbul, the tension begins to build wonderfully. Ratchett emerges as a rather crass and bullying figure who is beginning to fear for his life. The passengers nervous and scornful looks they pass at each other give sparks of mystery.

When the big moment hits- the air seems to go out of the picture. The suspense seems to feel flat and although the legendary reveal is still clever, in this adaptation it just feels predictable. The cast that Branagh has assembled is wonderful to watch, but great names such as Judi Dench, Derek Jacobi, Daisy Ridley, Michelle Pfeiffer, Penelope Cruz, Josh Gad and Willem Dafoe are confined to bit parts. As the mystery unravels there are some fine moments of emotion on display. Josh Gad, in particular, comes up with some fine acting which gives depth to a complex character. Poirot already seems to have an idea of who the killer is, but knows he must tread carefully. The claustrophobic setting of the train carriages is still nerve-wracking in places. With the train derailed by a snow drift, Poirot knows every step he takes could be dangerous.

Classic mysteries like Murder on the Orient Express are rarely seen in today's film world. Although Branagh still gives us a great middle of the road thriller, you can't help feeling that this tale feels dated. Already well adapted for film and television, Branagh is unable to bring any new to proceedings. Any newcomers to this story will be able to guess to the big finale from a mile away- partly because Poirot gives red herrings throughout. Although there are some missteps its a picture that still entertains and on the visuals and star power alone, this is a good journey onscreen.

Kenneth Branagh does an interesting new spin (and new mustache) as the famous Belgian Poirot. A more physical version of this character, Branagh is unafraid of doing more heavy lifting that sitting around. He wonderfully shows the more quirky side to this character and is unafraid to give light to his arrogance. However, TV's David Suchet remains the perfect Poirot. In the supporting ranks, we are given some performances to savour. Michelle Pfeiffer, in particular, is glorious as the conflicted Caroline Hubbard. Derek Jacobi still shows he has a presence that few veterans as the tricky Edward Masterman- his character alone deserved more screen time.

Murder on the Orient Express is a mystery that is still rightly regarded as a classic. However, despite Branagh's best efforts, it doesn't feel any newer on screen.

Mississippi Burning: Review of Mudbound

Mudbound

Director: Dee Rees

By Alex Watson

Dee Rees' Mudbound is a movie that is unafraid of tackling a dark point in US history. Among the muddy fields of Mississippi, the racial tension simmers. However, Rees also makes the human struggle element clear because this story is about how one piece of land causes a great divide among families. There is also a notion of brotherhood and two characters although worlds apart are drawn together by a terrible experience. The end result is an emotionally engaging piece.

Henry McAllan (Jason Clarke) leaves his idyllic city life in Memphis to pursue his dream of owning a farm in Mississippi. The move is hard on his wife Laura (Carey Mulligan) who struggle to adapt to living in a shack with no running water or electricity. She is also drawn to his war hero brother Jamie (Garrett Hedlund) who is affected by his combat experience. At the other end of the spectrum is sharecropper Hap (Rob Morgan) who has five children with wife Florence (Mary J Blige)- their son Ronsel (Jason Mitchell) has also returned home from WWII but faces another war altogether.

While six different characters providing narration does feel like overkill in places, there are few complaints to be had about Mudbound. Rees is able to draw us to each individual characters and bring them into their innermost thoughts. There is an unspoken sense of order through the early stages of this picture and from the moment Henry's family arrives, Hap knows their place in the world. His family has worked on the land for generations even though the land will never become his. " this character continually wonders about his place. While Henry is never outright hostile or unkind, his Pappy (a delightfully evil Jonathan Banks) is very much upfront with his hostility. Refusing to even sit next to Hap in the front of their car, his blunt hatred causes friction whenever he appears.

Jamie's arrival is one that stirs the pot. Permanently drunk and suffering from PTSD, he is saddled with a deep-seated guilt over the soldiers he failed to save in WWII. Laura is drawn to his kindness as he seems to embody everything her husband isn't. When meeting Ronsel for the first time, the pair do not see black or white but a fellow combat vet. Their friendship blossoms because they both understand the horrors of war. Sadly it also ignites a furious reaction from Pappy and what transpires is truly horrific. At the height of segregation, this friendship becomes the movie's heart and soul.  Laura's story is also one that brings a sadness to our hearts. A woman trying to make the most of the soggy and mud-filled land she occupies, she also chafes under the dominance of her unlikable father in law and her distance husband.

Rees's takes her audience into a time that most American audiences wish to forget. In 1940's deep south, there was an obvious social ladder and Hap and Florence's family unwittingly found themselves on the bottom rung. The intense hatred and hostility are at times also unbearable to watch. Especially during a tense sequence where Ronsel attempts to leave via the front door of a shop. Pappy and his equally racist pal are quick to ensure he knows to leave through the backdoor "I don't know what they let you do over there, but you're in Mississippi now!" Hap and Florence are bravely trying to build their own dream despite the odds being stacked against them. The notions of losing and keeping faith are strongly enforced- Laura is continually losing hope over her husband's perhaps foolish intentions.

While Carey Mulligan gives a stand-out turn as the struggling Laura, she is almost a background player in this story. Garrett Hedlund is outstanding in a strong supporting role and firmly captures a man wrestling with his conscience. Dismissed as drunk by both his brother and father, Jamie carries a burden few men understand. Hedlund is definitely Oscar-worthy here. Jason Mitchell's Ronsel is the character who will capture your heart. A brave soldier, he comes home to find the old problems that plagued his life are still there. Mitchell's barely contained disgust is mesmerizing to watch and on merit alone, he deserves to rewarded. Mary J Blige is the one tipped for Oscar glory and as in a powerful and less showy turn- she thoroughly lives up to the hype.

Mudbound is a movie that captures the struggles of everyday people trying to live a dream. It is also a powerful voice about a dark era of US history.

A Stranger In My Home: Review of The Killing of a Sacred Deer

The Killing of a Sacred Deer

Director: Yorgos Lanthimos

By Alex Watson

Colin Farrell and Greek helmer Yorgos Lanthimos are becoming the new odd couple. After collaborating on the bafflingly brilliant picture, The Lobster, once again they strike gold. The Killing of a Sacred Deer is a bold, brave yet disturbing feature film. Lanthimos may confuse some people with his mixture of sadistic humor with high tension. Those who are familiar with his style will be blown away by one of the best movies of 2017.

Steven Murphy (Colin Farrell) is a successful surgeon who is bonding with troubled teen Martin (Barry Keoghan). Happily married to Anna (Nicole Kidman) with two children, everything seems pretty rosy. However, Steven was also the surgeon who operated on Martin`s father when he died. One day, Martin reveals he has placed a curse on the family and now Steven must kill one of his own family to balance the scales.

There is an eerie and distorted feeling from the very first moment of The Killing of a Sacred Deer. Kicking off with a bizarre conversation between Steven and colleague (Bill Camp) about watches- Lanthimos clearly intends to take us in all different directions. Steven`s relationships with others are put under the microscope early. Barry seems to have an almost mentor friendship with him, despite the deliberately strained conversation. There is also a heavily sinister undertone and Martin is always showing up unannounced at the hospital. Anna is a loving and doting wife and willing allows him to explore his fetish of having sex with her while she pretends to be asleep. Although everything is picture perfect on the outside- Martin slowly exposes the flaws the family has and pretty soon things become tense.

Quickly Martin asserts his dominance over Steven's daughter Kim (Raffey Cassidy) and son Bob (Sunny Suljic). One moment sees his daughter get undressed in front of him, only for him to casually reject her. Guilt is another factor that is heavily implied throughout Lanthimos' picture. Steven carries a burden from the night Martin's father passed away. His refusal to acknowledge his potential liability marks him out as prideful and stubborn. During the early stages, we are never sure whether Martin is toying with Steven or is genuinely interested in bonding with him. During a freaky dinner at Martin's, his mother (Alicia Silverstone) makes a bizarre pass at his 'beautiful hands' and the rejection that follows seems to be the catalyst for what follows. In a shocking yet brilliantly underplayed sequence, the young man reveals the terrible truth. In a nervous and overly fast voice, Steven is informed that if he doesn't kill one of his family, they will all become paralyzed and slowly die.

From this point on The Killing of a Sacred Deer transforms into pure psychological horror. Thanks to the terrific camera work of Thimios Bakatakis we are drawn into every father's worst nightmare. Out of nowhere, his children get sick and no solution can be found. Steven transforms from a cool and collected being to becoming a wounded tiger. Soon he resorts to increasingly desperate measures to try and salvage a no-win situation. The moral implications of what he will have to eventually do are almost sickening. Lanthimos drags his audience through the whole spectrum of emotions and we all know that we cannot look away.

Colin Farrell demonstrates that with the right director he can be a revelation. Carrying the movie's emotional and mental core- Farrell shows a side of his acting we have seldom seen. Some may still sneer at his ability (particularly his big-budget failures) but its impossible to deny that he is Oscar-worthy here. Nicole Kidman also gives strong support as the suffering yet committed Anna. Almost the Lady Macbeth figure, later on, she is the one behind the scenes keeping it together. Newcomer Barry Keoghan almost steals the picture from Farrell with a menacing turn as Martin. From the moment he enters his permanently monotone voice is immediately unsettling. Keoghan is a star we need to watch closely.

Some may find The Killing of a Sacred Deer extremely unsettling, but Yorgos Lanthimos is very different kind of director. On tension and style alone, this is brilliant filmmaking.

Hammer Time: Review of Thor: Ragnarok

Thor: Ragnarok

Director: Taika Waititi

By Alex Watson

After the underwhelming sequel, 'The Dark World' many Thor fans were left wondering where the Thor could possibly go next? Getting Taiki Waititi in the director's chair was the smartest move imaginable. Thor: Ragnarok is a sharp and funny ride that finds its humor in very unlikely places. Unlike previous director`s, Waititi is given free reign and the success of the movie comes from his lack of reliance on action scenes.

When estranged sister Hela (Cate Blanchett) aka the Goddess of Death returns, Thor (Chris Hemsworth) finds himself in a tricky situation. Exiled the garbage planet of Sakaar, he finds himself forced to fight as a gladiator for the Grandmaster (Jeff Goldblum). However, while on this planet he finds himself reacquainted with his old buddy Bruce Banner (Mark Ruffalo) and once more facing off against troublesome brother Loki (Tom Hiddleston).

After showcasing his unique brand of funny in his acclaimed movie `Hunt for the Wilder People`, Waititi was an unusual candidate for Thor: Ragnarok. He proves to be an inspired choice because he is the first director to really channel the comic gold this character has. Watching a dangling Thor slowly enraging villainous demon Surtur (voiced by Clancy Brown) during a threatening monologue immediately sets the tone. In other hands, the mashed together plot involving usurping, past murders and slavery could have been a messy affair. Waititi makes it seems like a breeze and keeping the focus on comedy makes this a much better viewing experience.

When Thor literally arrives with a bump on Sakaar, much of the comedy is found here. Grandmaster is the most Goldblum role that Jeff Goldblum will ever play. A smooth-talking tyrant with his fingers in many pies, Thor's entry into being a gladiator couldn't have been worded more nicely. The showdown in the arena between Odinson and the Hulk gives us a hilarious verbal and physical battle. This also lasts outside the walls as the pair squabble throughout, including a brilliant reaction by Thor to seeing the Hulk's green dick. Waititi, also plays the scene-stealing rock gladiator Korg, in his soft-spoken voice he provides the bulk of belly laughs. There's also the added problem of Loki being around. Morally ambiguous at every turn, once more his brother makes it hard for him. In this installment, sibling rivalry is present but almost takes a backseat. Although we do learn how they play the game 'Get Help' (recommended for all to try at least once).

As a villainess, Hela feels like Thor: Ragnarok's weak link. Although central to the plot she just comes across as just a moody and bitter relative. Banished from Asgard after her genocidal desires outgrew her father's, Hela has the potential to have a cold, malevolent presence. While she physically matches Thor, she lacks any kind of real threat. Although there is a fine supporting turn from Tessa Thompson as a former Valkyrie. Scarred by her past encounter with Hela, Valkyrie has resorted to heavy drinking and slave capturing to get by. Getting her on board to protect Asgard is a major hurdle and she makes Thor work for it. The emotional content of this movie also makes Ragnarok creak slightly. Waititi effortlessly blended heavier content with a light touch in Wilder people but for a picture like this, it feels unnecessary. When a movie crams so much into one film, they can't all winners, unfortunately. Aside from this, there are few grips to be had and Waititi is welcome back to tickle our ribs anytime.

Chris Hemsworth has molded Thor so well it fits him perfectly. One of the few action movie stars capable of both great depth and sheer comedy, Hemsworth once more stands out. Tom Hiddleston again makes a great love/hate figure. His facial expressions alone make his character impossible to pin down and Hiddleston is clearly loving every minute. Cate Blanchett should have been a fine nemesis but finds herself stranded in a one-note role. Mark Ruffalo is also able to find his funny side as Banner. Hilarious neurotic and forced to wear Tony Stark's tight pants, he is barely keeping his green friend inside. Anthony Hopkins in one very brief scene still shows just why he is one of few remaining greats. In a single monologue, he can conjure up feelings of remorse, fear and ultimately hope. It's a shame the central pairing didn't get more time alongside him.

Thor: Ragnarok is very much the strongest of the trilogy so far. Taika Waititi proves he can handle the big-budget pieces and let's hope the Marvel Universe brings him back for the next installment.