Red State: Review of Red Sparrow

Red Sparrow

Director: Francis Lawrence

By Alex Watson

While some have remarked that this picture is 'all style and no substance' Red Sparrow is still a movie that engages us. Director Francis Lawrence, reuniting with his Hunger Games star Jennifer Lawrence. There is an abundance of high-level violence in this tale of spying and betrayal. While Lawrence provides some great bits of visual flair, the story feels overly long and underdeveloped. A great cast is what keeps this afloat and once again Jennifer Lawrence shows how she can be a movie's saviour on talent alone.

Dominika Egorova (Jennifer Lawrence) is an acclaimed dancer for Moscow's Bolshoi ballet, but when her career ends due to injury her life goes down a very different path. Forced by her seedy politician uncle Ivan (Matthias Schoenaerts) to become a 'Sparrow', an operative who seduces potential enemies of the state, Dominika finds herself caught between a rock and a hard place. American spy Nate Nash (Joel Edgerton) has a mole when Russian Intelligence and soon his path will soon cross with hers.

Red Sparrow wants to be an accomplished and stylistic thriller. It has the style part down for sure, particularly during a dazzling opening which sees Dominika dancing. Throughout this movie, she is forced to put on performance after performance between Russia and America. When her life is thrown into turmoil, she has little option but to take Ivan's offer to ensure her sick mother (Joely Richardson) is cared for. Despite a confident opening stretch which firmly establishes to different narrative threads, Lawrence is unable to capitalize on this. During a gruelling training regime under Matron (the always watchable Charlotte Rampling), Dominika learns the hard way that her body must sometimes be sacrificed for the nation. While this section is often hard-nosed and brutal, it lacks the punch needed and feels like an excuse to show frequent sexual brutality.

Nate Nash, on the other hand, is dealing his own issues and due to some rather unfortunate behaviour in Moscow, the CIA is reluctant to let him contact his mole. Dominika, on the other hand, is given the task of rooting the mole out. Unfortunately, any hopes for a hard-bitten and tense affair are thrown out the window. Lawrence instead decides to focus on numerous and often gut-wrenching scenes of torture and violence and is unafraid to let the blood spill. This movie does provide stretches of good tension- such as a very nervy disk exchange in a London hotel room. The central love story between Nash and Dominika however, feels tacked on the sake of the film. Rarely do we get the sense they are anything more than collaborators and you get the sense that Lawrence is trying to inject some heart where it is least required.

Also, there is the debatable issue of exactly which side Dominika falls down on? Stripped of her identity and her will to live, she struggles with the notion of remaining loyal to her country. Her body has become her way of surviving and her weapon against the enemy. The movie's sexual themes have divided many along the way and those who view this movie will either find this inspiring or repulsive depending on your mood. However, Lawrence does keep the twists and deception rolling in until the film's climax, though it will be a hard slog to get there.

Jennifer Lawrence is the movie's ace in the deck and despite a slightly cliched Russian accent, she gives this piece her all. Her performance is tested both physically and emotionally and this is a more bold role than you would expect from this actress. Featuring a couple of very full frontal scenes, she is unafraid to embrace the more risky side of this character. Joel Edgerton also puts in a strong supporting turn as Nash and despite having little in the way of character, he makes this character stick out.

Red Sparrow is a more explicit effort than we have come to expect from Francis Lawrence. Though its violence may leave a bad taste afterwards.

This Mother To You: Review of mother!

mother!

Director: Darren Aronofsky

By Alex Watson

To say, Darren Aronofsky's new feature film mother! has had a polarised reaction is an understatement. Branded 'The Worst Film of the Century' by some movies goers, this is an outing that definitely doesn't cater to all tastes. Aronofsky has never been one to go easy on his audience (who here can easily sit through Noah again?) and his usual narrative trickery once more cause our brains to wander in several different directions. I can safely say this definitely is NOT the worst movie of 2017! Although it will probably prove to be the most frustrating to review.

A young woman, Mother (Jennifer Lawrence) lives in a peaceful and tranquil countryside home with her poet husband Him (Javier Bardem). Keen to finish renovating the house they share, Mother's hope of starting a family are being interfered with by Him's chronic writer's block. Their ideal surroundings are soon threatened by the arrival of a mysterious guest (Ed Harris). After being allowed to stay for the night, his wife (Michelle Pfeiffer) arrives which further concerns Mother. Soon a chain of bizarre events will change the couple forever.

So what precisely is mother! all about? That question I cannot possibly describe in word form, so I will sum it up as best as I can. A story heavy on biblical undertones (Jennifer Lawrence has pretty confirmed the themes here- DO NOT READ UNTIL AFTER VIEWING), Aronofsky shows a paradise which is slowly invaded by serpents. Be prepared to come of this picture with a number of different questions which don't all get the needed answers. Starting with an eerie quiet, you sense this is an existence that is too good to last. For once, Aronofsky opted against a musical score and this choice only makes the silence more disturbing. From the moment that their male guest charms his way into the home, you can feel the first domino hit the ground.

From this point, things slowly spiral into every woman's worst nightmare. Coming off as a bizarre mash-up of Michael Haneke's 'Funny Games' and Polanski's 'Rosemary's Baby', things gradually become more and more hilariously absurd. Him's overly enthusiastic hospitality to their rude and inconsiderate guests is nothing short of maddening to our Mother. With a look of barely concealed frustration, anger, and shock, she simply wants these people out of her home. Aronofsky shows her as a woman trapped in her own personal hell, she is never allowed to leave her home and even when surrounded by beauty all she can feel is isolation. The strain on their relationship is apparent and the couple's arrival does little to bridge that gap. Him comes off as the typically clueless man with saying that are rubbing our heroine the wrong way. The guest's wife plays the role of antagonist ranging from her continual backhanded compliments to outright hostility.

Aronofsky leaves us little red herrings to the eventual fate of mother! which range from bizarre to curious. What is that yellow potion Lawrence keeps drinking? What's with the bleeding floorboards? Just why are their guests so fascinated with the piece of Crystal that Him keeps in his study? However, despite Aronofsky excellently building the suspense and intrigue and some wonderful grainy photography by Matthew Libatique, the movie's third act will divide many many fans. As Him finally achieves his desired fame, the movie descends into complete chaos. Bloody, brutal and horribly mind-jarring, this section almost borders on bad taste as we see just how savage humanity can be. Expect huge crowds, bloodstained floors, cannibalism, random soldiers appearing and a violent crescendo to appear all when you least expect. Then again, any fans of Darren Aronofsky will know he is all about pushing cinematic buttons and ever since the graphic posters were released, you knew this piece was never intended to be easy on the eyes.

Jennifer Lawrence proves that she is an actress who can make a role work, no matter how vague the material might be. Through her wide-eyed horror, she brilliantly conveys a woman drowning in loneliness and despair. Frequently reduced by her husband to play the role of party pooper, Lawrence's growing exasperation is wonderfully performed. She also excels during the movie's difficult finale and she manages to keep her when all around is her collapsing. Javier Bardem is as close as the movie has to a villain, but wisely he is never made out to be one intentionally. As the fame-obsessed writer, throughout he plays closer attention the strangers in his home than to his own wife's needs. Bardem plays his character which such charm that we want to forgive his misdeeds, only he keeps making harder for both us and Mother. Michelle Pfeiffer also gives us a reminder of what great presence she still has and her boozy and confrontational wife frequently lights the fire of hatred within the home.

mother! is an experience that definitely is not for everyone, those who are squeamish or easily startled might want to steer clear. A Darren Aronofsky film is never the same experience as the one before it, who knows what he has in store next time?

Reign Over Me: Review of X-Men Apocalypse

X-Men: Apocalypse

Director: Bryan Singer

By Alex Watson

Sadly X-Men: Apocalypse marks a low point for Bryan Singers tenure in this Marvel Franchise. Everything we know and love is there is this feature, but too many adjustments and new character injections are what drags this piece down. It is also not helped by its confusing script and flat storytelling. Changing the character arcs and timelines has been in place since First Class rolled onto screens, but here it is just unbearable.

Rising from his tomb underneath the pyramids after many millenniums, Egyptian God En Sabur Nur/Apocalypse (Oscar Isaac) plots to drag humanity down to its depths and rebuild a better world. In 1983 society, Charles Xavier (James McAvoy) is attempting to establish a school and has come across a talented by trouble protege Jean Grey (Sophie Turner). Meanwhile, Magneto (Michael Fassbender) has tried to live a normal life until tragedy strikes. When Apocalypse threats to ruin earth, each X-Men has his own conflict.

We all want to love X-Men: Apocalypse, but its moral compass just seems to be skewed. Magneto once again is toying with the idea of being both good and evil. Living in Poland he has settled down with a wife and child before (SHOCK HORROR!) tragedy strikes. Xavier still believes there is good in the man, despite he has routinely betrayed him and committed numerous murders. Mystique (Jennifer Lawrence) is also beginning to sink and in this one, she made out to be too much of a do-gooder. Her rousing speeches don't feel genuine and the moral ambiguousness that worked so well has vanished. The new recruits Cyclops (Tye Sheridan) and Nightcrawler (Kodi Smit-McPhee) makes the strongest impression and give us a key reminder of why we loved these characters before. The pain of youth and curse of their powers go give this picture a much needed emotional relevance.

Things start so well when we see Nightcrawler forced to fight the underwhelming Angel (Ben Hardy) in a rage in the cage match. This is as many thrills as the first hour will provide as Singer then insists of bouncing his audience from story to story to set us up for later. Sadly from this point the story becomes muddled and many of the ideas Singer probably wished to include get stranded. Quicksilver (Evan Peters) who was so effective in Days of Future Past is unable to replicate his form here and also due a questionable plot change it leaves us scratching our head. Jean Turner comes across a promising reboot, but here rather frosty character is hard to warm too. Though her inability to control what is a vastly powerful mind does earn a few extra points

The biggest sin of X-Men Apocalypse comes from its flat and unthreatening villain. All of us growing watching or reading the X-Men cartoons loved Apocalypse as the big bad of the franchise. In this universe is a boring and forgettable presence. Showing his backstory provides us with precious little as we see him transported into the body of a young man. After his transformation, he looks more like a replication of Ivan Ooze from Power Rangers than a God with unlimited powers. The whole picture seems to him going around and absorbing other people's powers. His intentions and his hatred for the modern day are never made explicitly clear but we know he wishes to punish them. How he convinces lonely and unbalanced mutants to join his cause doesn't raise any thrills and despite Oscar Isaac's best efforts, this just feels like a huge letdown.

Even the X-Men performances don't grip us like they should do, Michael Fassbender is beginning to struggle with the eternal good and evil conflict of Magneto. Singer should just choose the direction and let Fassbender do this thing because when he does, he is magnificent at it. James McAvoy, as usual, is great (if underused) as the professor but Jennifer Lawrence's complete redirection as Mystique doesn't feel right. She is settling more into physical aspects of this role, but making her a hero is step back. Kodi Smit-McPhee and Tye Sheridan are marked out well as the new blood of the franchise. SMP in particular is able to project the confusion and vulnerability that makes Nightcrawler so great. Also, he rocks his Michael Jackson Thriller jacket!

On the whole X-Men: Apocalypse is just another big budget blockbuster gone south in what has been a bad year for superhero films. Back to the drawing board boys because the old ideas are becoming stale.

Joy To The World: Review of Joy

Joy

Director: David O Russell

By Alex Watson

We are unlikely to see a more dysfunctional family than the Mangano's in 2016. Outside of Jennifer Lawrence's awards assured performance, Joy cannot find the spark it needs to ignite. This type of drama by David O Russell has an all too familiar feel to it and unlike his more recent acclaimed efforts, it fails to break new ground. The story of Joy Mangano is an uplifting one but has an undercooked taste and we never truly feel the pain and sacrifice of her journey.

Joy Mangano (Jennifer Lawrence) grew up wanting to be an inventor, but years later she is a divorced mother of two stuck in an unforgiving job and living in her crowded family home. Realizing that she needs to make her own life soon, Joy comes up with an invention that will revolutionize housework- a self-wringing mop.  With the market being difficult to crack into, Joy soon finds an unlikely ally in QVC channel executive Neil Walker (Bradley Cooper).

Joy is a movie that is about the determination of spirit and we see her as an imaginative child turned into a cuckolded young woman. Her family is the very description of problematic with her mother Terri (Virginia Madsen) glued to her soap opera's, her ex-husband Tony (Edgar Ramirez) still living in the basement and now her father Rudy (Robert De Niro) has been thrown out by his third wife. Her browbeating and squabbles with this lot feels too drawn out and after a point, it slows the story. Thankfully Russell shows some restraint and keeps the feud from boiling over. There are ventures into a rather bizarre and surreal avenue when Joy imagines her life being like one of her mother's tv shows. All this does, however, is diverted the movie from the path.

From the outset, Joy is a woman struggling to make her own way despite her obvious intelligence and business sense. There is a great story to be found about one of the really smarter innovators, shame is Russell doesn't know how to tell it. Her venture into the world of the home shopping channel is easily the picture's most entertaining. Neil Walker is a charming and encouraging presence and it is during this sequence that he helps inject some hope into affairs. Joy's natural charisma and likability are brought forward effortless during her infomercials. Though things are cringingly awkward and she looks unimpressive compared the better-dressed hosts, the against the clock feel works wonders. Desperate to sell over 50,000 units will her idea prevail?

Unlike the crucial middle segment, Joy is unable to recreate this feel as the movie's latter half deals with the struggles and threat of financial liquidation. Although the movie reaches its desired conclusion or interest has waned by this point. David O Russell has emerged as one of the finer directing talents of recent years, but this picture just doesn't feel like one that tests his ability. This man has a keen eye for the conflict within people and their families. The Mangano's have a love/hate relationship but it takes up too much of the movies prime focus which should be Joy's ascent to business glory.

Jennifer Lawrence is the movie's ace in the pack and through a controlled performance, she brings to life a woman clinging to a scrap of hope. Constantly put down but never beaten, Lawrence is the gutsy heart and soul of the character that continues to surprise. Likely to be a name among many awards lists, this woman is an actress who has already reached A-List status without breaking a sweat. Robert De Niro also deserves credit for a fine supporting turn as Joy's volatile father Rudy. Constantly sporting a look of disbelief, the man is a thorn in her side that can never be removed.

Joy is unlikely to gain much traction at awards shows but is worth seeing simply for the power of Jennifer Lawrence. Russell and co will be back before we know it and probably stronger for the experience.

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

The Hunger Games: Mockingjay Part 2

Director: Francis Lawrence

By Alex Watson

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

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

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

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

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

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

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

The Girl On Fire: Review of The Hunger Games: Mockingjay Part 1

The Hunger Games: Mockingjay Part One

Director: Francis Lawrence

By Alex Watson

So now Suzanne Collins' beloved Hunger Games Trilogy novels begins to come full circle. Thus far Katniss Everdeen has proven to be a fearless yet real heroine that the big screen has been calling out for. After the success of the previous installment Catching Fire, director Francis Lawrence again returns for this two part finale. Fans are sure to be kept waiting on tenterhooks as we await the final outcome in The Hunger Games: Mockingjay: Part One.

After the devastating consequences of Catching Fire, Katniss Everdeen (Jennifer Lawrence) and her family are now living among rebels in District 13, run by President Alma Coin (Julianne Moore). While Peeta (Josh Hutcherson) is being kept prisoner in Panem by villainous President Snow (Donald Sutherland). Eager to seek justice for the tyranny caused, Katniss agrees to be the rebels 'Mockingjay' and the face of the upcoming revolution!

While it is very well acted, stylish and entertaining as normal, The Hunger Games: Mockingjay Part One cannot escape the fact that it just feels like a filler before the big event! Going for the same two part format as Harry Potter, this installment feels more like the business end of the spectrum and the characters we love are not given any potential room to breathe. Set mainly in the District 13 underground, this confined space makes Francis Lawrence's film suffers from a lack of thrills.

Early on there are some memorable moment such as an exciting air raid sequence on an unarmed hospital. More moments like this could have raised the movies game further. There are moments of unexpected comedy such as Plutarch Heavensbee's (Philip Seymour Hoffman) roaring frustration behind the special effect desk during his first attempts at filming Katniss' propaganda clips. But these brief flurries are only blips on the radar and before long the lengthy and talky sequences underground begin to stifle us!

Katniss is still appealing as a character and it is through her that the movies mainly qualities come to light. Forced to play the role of reluctant idol, her trips above ground provide a real eye opener for her. As she witnesses the ruins of her old district, we are shown what is essentially a mass bone yard of bodies! Her pain and anguish are potent here and she continually witnesses the violent injustice of Snow's empire, we feel every ounce of her venom pouring into the speeches she is forced to film! 

Jennifer Lawrence has been the main credit for the appeal of Katniss and once again she delivers in Mockingjay Part One. Demonstrating her great human touch along with her tough rebellious streak, Lawrence is the driving force once more and you can see exactly why her character appeals to rebels she is sworn to protect. One of the finest actresses on the planet currently, it is unbelievable to think that she isn't yet at the peak of her powers!

Philip Seymour Hoffman reminds us what a great talent he was before his tragic death earlier this year (the film is dedicated to his memory). Julianne Moore makes a decent but not unmissable presence as Alma Coin and seems to spend the majority of her time making grand speech. Donald Sutherland in only a few scenes still makes for an icy and bold villain as President Snow and his casting has proven inspired.

While Part Two might be the cherry on top of the flaming cake, The Hunger Games: Mockingjay Part One just isn't satisfying in the way that we would hope. It will leave die hard fans counting the days until the true finale appears, but to others it will just seem like a disappointing starter to a more meatier main course. 

Three Movie Picks for November

Interstellar (Director Christopher Nolan) 

Chris Nolan's long awaited return to the screen post Dark Knight Rises has been one of great speculation throughout 2014 and through a series of cleverly planned trailers, we have only glimpses of a plot. Starring Matthew McConaughey, Anne Hathaway and Jessica Chastain, we have learned that the story concerns an environmentally destroyed earth and a group astronauts having to navigate a worm hole in space to save it from total destruction. Nolan has yet to put a foot wrong and this looks likely to continue his fine run of form.

Release Date: November 7

Foxcatcher (Director: Bennett Miller) 

After grabbing serious attention at the Cannes Film Festival this year, Moneyball director Bennett Miller returns with a movie that has some serious awards contention. Based on the tragic story of Olympic wrestler Mark Schultz (Channing Tatum) and his notorious relationship with his paranoid coach John Du Pont (Steve Carrell), this movie has proved to be an intense and captivating ride for critics. Featuring possible career best turns by Carrell and Tatum, this could well start making an appearance on award lists soon.

Release Date: November 14

The Hunger Games: Mockingjay Part One (Director Francis Lawrence)

Katniss Everdeen (Jennifer Lawrence) is back on screen Hunger Games fans and she is aiming to make folks in the capital Panem sweat after the events of Catching Fire! So far this franchise has proven to be one of the most exciting and well made of years gone by and has found admirers in both teen and adult markets! Although some may be annoyed that the final story is split over two parts, no one can deny that watching Katniss and her band of followers slowly breaking down walls will be electric to watch!

Release Date: November 21