Saved: Review of Boy Erased

TIFF EXCLUSIVE

Boy Erased

Director: Joel Edgerton

By Alex Watson

Joel Edgerton's career as a director so far shows he is unafraid to tackle sensitive subjects. Adapting Garrard Conley's hard-hitting memoir Boy Erased, Edgerton gives a powerful commentary about the effects of LGBTQ people forced into conversion therapy. He also addresses the fears and often irrational actions of parents concerned more with their image than accepting their children. With a breakout turn from upcoming star Lucas Hedges, this is one of the most powerful films that 2018 has to offer.

Jared Eamons (Lucas Hedges) is a young man who is the son of  Pastor Marshall Eamons (Russell Crowe) and doting mother Nancy (Nicole Kidman). While away at college, he is outed as gay to his parents who offer him a  compromise- either be disowned or attend gay conversion therapy. Forced to attend a program under the leadership of the outspoken Victor Sykes (Joel Edgerton), Jared quickly becomes disillusioned with the message being given and has doubts over whether it will cause any real change.

"You cannot be born a homosexual. This is a lie, its a choice," comments Sykes at one stage. Throughout Boy Erased, Edgerton is able to tread a very fine line with his message on conversion therapy. Jared is a young man who encompasses the All-American boy, he is popular, athletic and comes from a loving but devout Baptist family. Edgerton jumps back and forth between timelines to give an impression the past that has plagued Jared. One of the more harrowing sequences comes from when Jared meets fellow college student Henry (Joe Alwyn) and a blossoming romance quickly turns into a sexual assault. Starting in almost rom-com style, this switch from a meet-cute to a life-altering event is shocking. From here, Jared's life begins to unravel. Under Sykes rule, the attendees are frequently put through the emotional wringer and are often derided. Sadistic instructor Brandon (Flea) is particularly savage- forcing students to line up in order of how manly they seem.

Everyone is simply trying to do the right thing, Sykes while abusive and narrow-minded is under the illusion that he is fixing people. However, this approach brings up some moments which are almost unbearable. Such as when fellow classmate Cameron (Britton Sear) is forced to be beaten by his family with bibles to 'strike out the demon'. The slow camera shots and dark orange glow of the room make this look almost like a horror film. Thankfully, Edgerton resists the urge to make these people cartoonish villains and instead he shows people more bound by tradition than hate. Marshall is a proud father who is wary of his families image and is unable to shake the old ways but never once is he made out to be hateful or prejudicial. Nancy is also an old-style mother who 'falls in line' but throughout her awareness about the horror of the situation grows to the extent where she can barely disguise it. Jared at first agrees to this treatment due to his love of the family, but frequently he finds himself plagued by self-doubts and his growing backbone skulks the screen like a tiger. He is never a big talker, but throughout his quiet manner, you can sense his frustration and confusion building.

Boy Erased is a frightening commentary on the real effects of being forced into the closet. In the program, the students are all just trying to push through, but the threat of being kept long term is one that is utterly horrifying. Edgerton smartly casts Quebecois director Xavier Dolan as the conflict Jon who 'salutes' rather than touching others and Australian singer Troye Sivan who encourages our hero to 'fake it till you make it!' These people are always to refer to their homosexuality as a sin and this repression and mental abuse is shown as harming lives rather than saving them. While this type of story might be familiar and in some cases almost a Hollywood staple, Edgerton is able to project a much need bite into proceedings with overselling the potential redemptive themes. One beautifully acted scene towards the end sees Jared finally lays out to his father how their relationship should be and guaranteed there will not be a dry eye in the house! "I don't want to pretend anymore' our hero says and right there is the official slogan the movie is looking for.

Lucas Hedges has already been making a name for himself with his turns in movies such as Manchester by the Sea. Here, he ensures that his name will be among the nominees come Oscar time. His performance is one of great reserve and he fully amplifies the pain and confusion that Jared feels. He also finds room to also give him a likeable yet smart-ass feel as the movie increases and by the end, this character has become fully rounded. Nicole Kidman also gives her all in the supporting department and Nancy's love for her son is frequently tested by never once broken. Russell Crowe has a hard task portraying the unshakable religious father but he adds a human element to this role which shows how a father's love often conflicts with his morals. As the hard-headed Skyes, Joel Edgerton delivers a performance that at times is at risk of being a caricature, but mercifully he elevates his performance to show a man convinced his is doing God's work but his short-sighted approach is only succeeding in driving away those he wants to save. A little tidbit about him at the end credits will raise a smile.

Some may see this type of film as a guaranteed road to Oscar glory- but you can't deny the sheer power of storytelling in Boy Erased. On performances alone, this has serious awards contention.

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.

Here Comes The Night: Review of It Comes at Night

It Comes at Night

Director: Trey Edward Shults

By Alex Watson

Trey Edward Shults keeps the suspense building in his picture It Comes at Night. The premise of a cabin deep in the woods might seem familiar, but Shults' use of the dark keeps us continually on edge. The notion of family and survival are the key ingredients to success, from this the movie develops a wonderful paranoid edge that keeps the lines of reality blurred.

After a highly contagious disease, ravages the nation, Paul (Joel Edgerton), Sarah (Carmen Ejogo) and their son Travis (Kelvin Harrison Jr) live in seclusion. Their lives are one of strict routine and they are always on guard. One day Paul catches survivor Will (Christopher Abbott) try to break into their home. After misunderstandings are cleared up, his wife Kim (Riley Keough) and their son are invited to live in their home. Soon a series of strange misadventures will threat to tear both families apart.

What is perhaps the most effective and scary part of It Comes at Night is what is not told to the audience. Opening on Paul and Sarah being forced to kill their sick and infected father, there are no news reports or explanations as to what the disease is or how it started? What is the mysterious unseen presence that may or may not lurk in the bushes? Is this what causes their dog Stanley to suddenly go berserk? Shults demonstrates a really smart approach to his direction by refusing his audience any straight up answers. His command of the horror is what will stick with audience members. Surrounded by endless lush green woods, there is no hope of escape. Never once yield to the urge to simply scare people, Shults gives such a subtle yet unnerving visuals that will haunt your dreams for quite a time.

Will and Kim are what really throws the cat among the pigeons and this where the movie's paranoia superbly kicks in. Like Paul and family, there are merely trying to survive. Believing in strength in numbers they slowly earn the trust of their hosts. Do they carry the disease? Are they trustworthy? All these questions surround their arrival and both sides cannot seem to shake their doubts. Shults is forever testing us on what we think we know. And every little moment seems to carry a variety of questions alongside it. Travis emerges one of the key characters as his sleepless nights often uncover some clues which could be essential. During his dreams, this is where Shults blurs the line between fantasy and reality. Is what he sees forboding? Or is this a terrible and haunting premonition that will lead to worse happening!

During It Comes at Night's final act the simmering tension boils over. Read as little as you can about this picture before going in- it will ensure the cold-blooded finale will leave you speechless. The front door is the only way in or out the property. Soon this becomes the focal point of tensions as sides become taken. Secretly we question whether Paul and Sarah's overworked minds are just playing tricks on them? Continually Will manages to placate the pair and explain his way out of mysterious situations but his real intentions are left in the air by Shult's. While the lack of explanation may be maddening to some fans, others will marvel at its ambiguity

Joel Edgerton is proving to be one of Hollywood's most effective actors and that trend continues as Paul. Both protector and interrogator, he is a man determined to keep his family safe no matter what it takes. Edgerton is mesmerising whenever he appears and is very much the movie's troubled conscience. Christopher Abbott is also strong as Will and gives his character a likeable yet immensely mistrustful feel. Kelvin Harrison Jr, however, is the one whom the audience will likely remember. A boy being forced into manhood early, Harrison's innocence that he brings to Travis is truly heartbreaking.

It Comes at Night is an experience that few will forget, excellently mixing scares with a post-apocalyptic feel- few horror pictures will beat Shult's effort anytime soon.

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.

The Gift: Review of Midnight Special

Midnight Special

Director: Jeff Nichols

By Alex Watson

A thriller in the vein of Steven Spielberg, Jeff Nichols Midnight Special is a sci-fi movie with a heart. A nod to such classics as Close Encounters, this picture is as much about the bond between father and son as it is about supernatural events. Having Michael Shannon once again anchoring his picture gives Nichols a protagonist who is all about survival. What precisely are the abilities of the special child on display? And just how priceless is he to humanity?

Roy Tilden (Michael Shannon) takes his son Alton (Jaeden Lieberher) from a religious cult and goes on the run with cop Lucas (Joel Edgerton). This 8-year has a gift which is not from this earth and both the NSA and FBI are taking a big interest in him. It is clear that Alton has a destiny to fulfil, but what exactly will this involve? Also, when it comes full circle, how will this affect life as we know it?

Smartly in Midnight Special, Nichols limits the amount of backstory we know about the pairing of Roy and Alton and we open with them driving through rural Texas at night. Almost immediately it is made apparent that Alton is no ordinary boy and his glowing eyes behind his blue goggles make us uneasy. The cult seemed to rely heavily on his influence and now federal authorities are wondering how this child got hold of classified coordinates? Early on there is a magnificent sense of unease as the trio have to creep their way through the darkness. One shocking sequence sees Lucas turn on his car lights at the most unfortunate moment which will lead to their cover nearly being blown.

Nichols' picture is more about humanity that the beings above it. Roy's love of his son knows no bounds and frequently he steps in the way of danger to allow their plan to move forward. Lucas makes for a fine conflicted partner who finds himself worrying more about Alton's wellbeing than the plan going well. A former cop, he makes for a smart yet compassionate voice. Adam Driver's NSA analyst Paul Servier also comes off well as he is the only agent to see past the big opportunity presented. The boy and his abilities are seen as having great benefit to the nation, what makes this all the more unnerving is we are not sure precisely how dangerous they are?

Frequently we are given short bursts of stunning visual effects such as Alton pulling down a government satellite from the sky. As the pieces rain down in a meteor storm upon a gas station, this provides a big jump. At the anticipated finale, the dazzling visual effects are almost second to the love and compassion on display. All the way through Midnight Special the main theme has been parents love for their child and Nichols makes sure this isn't a point that is missed. There are no big speeches or reaffirming of love, the pained and longing expressions say far more.

Michael Shannon gives an impassioned turn as father Roy and gives the movie its emotional cell. Always a great presence in movies, Shannon is a tough yet gentle soul who will protect Alton until his dying breath. Fast becoming one of this centuries most watchable talents, Shannon is on great form here. Joel Edgerton refuses to be upstaged and gives a turn that matches his co-star, Lucas is a man who lives by a strict moral code but doesn't flinch when asked to go above it. Edgerton is both the movies muscle and its voice of reason. Kirsten Dunst however, is stranded in an underdeveloped role as Alton's mother. After delighting us in St Vincent, Jaeden Lieberher is once again excellent and is becoming another youth talent to watch.

Midnight Special may just be the dark horse of 2016 and this is a movie with a brain and a soul. Prepare to ask yourself some big question about what lies beyond the stars as you exit.

A Boston Tale: Review of Black Mass

Black Mass

Director: Scott Cooper

By Alex Watson

A powerful central performance from Johnny Depp brings Scott Cooper's picture, Black Mass to life. The reign of James 'Whitey' Bulger in South Boston was a long and brutal one. Not helped by the fact this man had free rein from the FBI. Cooper is gives a bold and bloody depiction of one of most notorious gangsters in US history. An intelligent script from Jez Butterworth and Mark Mallouk, breathes new life into this genre and goes to show that gangster influenced through other means than money and violence. 

James 'Whitey' Bulger (Johnny Depp) rules South Boston with an iron fist and through the 70's and 80's it became his personal playground. While his brother Billy (Benedict Cumberbatch) became a state senator, Jimmy decided to keep things in the neighbour. Former child friend turned FBI agent John Connolly (Joel Edgerton) has a big idea. After great bargaining he convinces Jimmy to become a FBI informant, which allows him to clear his rivals. However, soon the bodies begin to pile up and Bulger soon abuses his immunity from prosecution. Soon loyalties will be tested as the FBI begins to wise up. 

Black Mass is a film filled with all kinds of sharp turns and shocks. There is a heavy irony hanging over Bulger who with all his heart despises rats but yet he has become to biggest rat in the city. Bulger Throughout he is a nerving presences with his shaved head and piercing blue eyes. Cooper effectively nails his convoluted persona. At first he is the perfect gentleman, but the next moment he is putting a bullet through your skull. One dinner table scene sees him give a thinly veiled threat to a FBI agent for divulging his family secret for cooking steak and for rolling over so easily. In this moment his cold gaze is utterly terrifying as he says "Just saying... can get you buried real quick!" 

Bulger isn't made out as an out-and-out psychopath and Cooper invests wisely in bring forward the trauma of losing his young son. The key moment that perhaps breaks his spirit is when his young wife Lindsey (Dakota Johnson) vows to 'pull the plug' on their boy's life support. He is a man beloved by his community who despises the Italians and especially the British. One small but vital sub-plot sees him proudly selling arms to the IRA.  His brother Billy has in his eyes become one of the smug members of Cambridge, Mass. Throughout his older brothers actions are bane on his political career, but Billy takes no action because "Jimmy's business, is Jimmy's business." 

Connolly is a man who believes in the loyalty of the neighbourhood and is in awe of his former friend. There is a alpha-male feel all throughout between these two figures and at times Connolly feels like the little boy still sucking up to the school bully. All around the bureau there is a feeling this will be a costly expenditure. Bulger fails to see becoming an informant a betrayal because it is not ratting. Also it gives him his goal of finally being rid of the Costra Nostra in the north end. Soon it becomes clear to the FBI that his 'intel'  has been nothing more than smoke and mirrors. Connolly throughout is under the same delusion as Jimmy that everything will stay hidden. He still fails to see that his former friend has done nothing but play him and that he idolizes a man who has introduced drugs to kids all around his old neighbourhood. 

Johnny Depp gives an Oscar quality performance as Whitey Bulger in Black Mass. A gripping presence throughout Cooper's movie, Depp shows the type of menace he is capable of pulling off and as Bulger he provides a wonderful frosty chill. Depp also appears comfortable with handling the heavier portions and his handling of the grief and devastation that Bulger feels at the loss of his son is truly magnificent. Joel Edgerton also continues his fine run of form and as Connolly he gives a wonderfully macho performance. This manis almost the villain of the piece due to his willing protect of a real monster. Edgerton gives him a likeable arrogance where even the most pessimistic can respect his wish for advancement. 

Black Mass is one picture that we can at least expect to see in the acting categories come awards season. Johnny Depp may have had a couple of wobbling outings before, but this performance sees him climb right back on top!