The Guest: Review of The Beguiled

The Beguiled

Director: Sofia Coppola

By Alex Watson

Sofia Coppola was deservedly awarded the Best Director award at the Cannes Film Festival. The Beguiled is a movie that oozes sexual tension and makes the most of its dark and tense feel. Showing the consequences of desire, Coppola focuses on the arrival and later descent of an unwelcome male visitor in a strong female house.

John McBurney (Colin Farrell) is a wounded Union soldier who has deserted during the Civil War. Chancing upon young student Amy (Oona Lawrence) he asks for refuge. Reluctantly taken into an All-Girls school by Martha (Nicole Kidman), his presence causes friction among the women. Although charming and appealing, soon his behaviour becomes a cause for concern.

There is a disturbing ambience to the Virginia setting from the opening frame of The Beguiled. The isolation of the woods and loneliness of the location alone creates an almost haunting atmosphere. John's appearance lights the fuse and from there Coppola slowly builds the seductive feel. Having the enemy lodging in a Confederate territory is not an appealing prospect, but frequently they relent because it is the charitable thing to do. McBurney is a slippery fish to handle as he seduces and flirts with all who comes across him. Teacher Edwina (Kirsten Dunst) is conscious of the danger he possesses but still gets caught up in his charms. Young student Alicia (Elle Fanning) is more direct and confident in her pursuit and this competition soon threatens to unbalance everyone.

It could be viewed that Coppola's movie is as much about female relationships as it is about unspoken desires. John views himself as the potential man of the house, a view we all debate vigorously throughout. The innocence that Martha has worked so hard to attain is quickly ripped apart and soon the school is ablaze with rumours and whispers. McBurney at first has a ball fighting for their affections and Irish lilt gives him the lovable rogue quality. The threat of having to turn their deserter guest over to avoid trouble is a never ending back and forth debate. What McBurney could do if tossed out of the house feels like more trouble than its worth. During the movie's middle section, Coppola excellently gives her movie an internal strife despite some obvious red flags.

The sheer shock and awe that goes into the final third marks The Beguiled out as Coppola's finest in some time. Having been a contented house guest, McBurney shows a different and altogether frightening side when things come full circle. Like a wounded tiger trapped in a cage, his presence goes from unwelcome to downright hostile. Coppola smartly shows which side holds the cards and the female bonds go deep. Paying attention to the small details is a wise move in this picture because they are ones which come back to haunt people. The ending given is as stone cold as any you will see this year. Sofia Coppola has had an up and down career, for every Lost in Translation there's a Marie Antionette. This picture shows what a talent she can truly be.

Colin Farrell gives a fine two-sided performance as John. On the one hand, a good man stuck in a bad situation, on the other a trickster who is bluffing his way through life. Farrell makes full use of his natural charisma and makes it fully believable how one man can cause so much havoc. Nicole Kidman is likewise excellent as the lady of the house Martha, a character who adheres to a strict code of conduct. Despite her concerns, she succombs to the same thoughts and feelings of those around her. Previous Coppola contributor Kirsten Dunst gives a wonderfully repressed performance as Edwina. Trying to remain true to herself, John is making her want to abandon her life. Elle Fanning gives one of her strongest performances as the no longer innocent Alicia and shows just why she's one of the finest young actresses around.

The Beguiled is a movie that firmly demonstrates Sofia Coppola's talents and makes us wonder what she has up her sleeve for the future.

T-Minus: Review of Hidden Figures

Hidden Figures

Director: Theodore Melfi

By Alex Watson

Hidden Figures brilliantly brings to light the essential role played by three African-American women during the Space Race at NASA. A story previously unknown to the public, all three helped change the boundaries of both gender and race during their time at this institution. Director Theodore Melfi brings across as a heartfelt feel to this picture and wonderfully lets the story tell itself rather than going for an overblown approach. The work these three women did was nothing short of miraculous and John Glenn's now famous flight might have been a far different story if not for their actions.

Katherine Goble (Taraji P. Henson), Mary Jackson (Janelle Monae) and Dorothy Vaughn (Octavia Spencer) are all employees of NASA. All feeling frustrated by the lack of advancement for both women and African-American's, each will take liberties into their own hands to get their voices heard. Space Director Al Harrison (Kevin Costner) is concerned with the upcoming space flight by John Glenn (Glen Powell). With the world watching, all of these three women will combine to launch one of the most anticipated moments in history.

The strength of Hidden Figures come from the toughness of each of the three leads. All are brilliant and brave in their own ways, Katherine is a mathematical genius whose gift is frowned upon by her all male superiors including insecure Paul Stafford (Jim Parsons). Dorothy is the defacto leader of a team of 'Computers' who is repeatedly denied promotion despite being overqualified. Sharp-tongued Mary while encouraged to be an engineer is denied due to silly technicalities. Melfi presents each of these characters with great authenticity and doesn't succumb to the urge to phone in the message. Set against the era of segregation, their battle isn't just in the workplace, it's all around. Thankfully the people around them are not presented as outright racists. Characters such as Kirsten Dunst's snooty Vivian Mitchell are ones bound by tradition and protocol.

Against the clock with the space race, the US is losing ground to the Soviets once Yuri Gagarin goes into orbit. Al Harrison is a boss that at first is concerned only with the job, once he gets wind of Katherine's ability with numbers it makes things a whole new ball game. All on her own at first, she receives a cool and hostile welcome. The only coloured bathroom she can use is half a mile away at her old building. She looks destined for obscurity until both John Glenn and Harrison see that the importance of this mission hinges on her. His defence of her isn't one where the sparks fly and no passionate speeches are given, just a quiet assurance that her qualifications are essential. Mary is also fighting her own battle because her wanted promotion depends on her taking advancement courses at an all white school. Mary is someone who doesn't need people fighting in her corner, through using her own words and her natural instinct is able to overcome anything.

Hidden Figures is a tribute towards those who refused to be confined to the shadows. Battling prejudice throughout, each member shows their spirit and determination when times get hard. Dorothy in particular comes across as a real hero when she learns to program IBM machines better than the men who built them. It is impossible to think of John Glenn's flight without their involvement. Katherine's maths is by the far the element that makes the difference because although Stafford arrogantly states his math is perfect and tries to black out key 'classified' information, Katherine repeatedly sees the flaws. The men in their lives are also quietly brilliant with a wonderfully romantic turn by Mahershala Ali as new lover Jim Johnson. Playing both father figure to her three daughters, Jim is the rock she needs and this story is one that gives this picture a sweet feel.

Three magnificent turns are what makes this picture so potent. Taraji P.Henson is Oscar worthy as the brainiac Katherine. Giving her a silent determination, Henson gives a turn that has both heart and great charm. By far the strongest character of the bunch, this could open new doors for this actress. After impressing as a surrogate mother in Moonlight, Janelle Monae is a force of nature as Mary Jackson. Gifted with a quick wit and even quicker tongue, this woman is unafraid to go it alone when it comes to her dreams. Octavia Spencer could well be up for supporting honours again with another tough and frank turn as Dorothy. Authoritative whenever she is on screen, this kind of role is second nature to Spencer. Kevin Costner is also impressive as boss Al Harrison and shows how memorable he can be with the right type of part.

Hidden Figures is a picture that stands out on its story alone and is one that could see some love when it comes to awards season.

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.