Summer Lovin': Review of Call Me by Your Name

Call Me By Your Name

Director: Luca Guadagnino

By Alex Watson

Fair warning before you see Luca Guadagnino's latest- this movie is heartbreaking in all kinds of ways. Call Me by Your Name is a movie that expertly and breathtakingly showcases the pain of true love. Set against the lush and stunning Northern Italy backdrop, this movie is far more just a feast for the eyes. Two magnificent central performances by Timothée Chalamet and Armie Hammer is what brings this piece to life and Luca Guadagnino emerges as Europe's new directorial threat.

During the summer of 1983, Elio (Timothée Chalamet) is spending his summer sunbathing, transcribing music and casually dating his girlfriend Marzia (Esther Garrel). His peaceful existence is interrupted by the arrival of Oliver (Armie Hammer) who arrives to assist his father (Michael Stuhlbarg). Over the next six weeks, a romantic connection ensues and Elio's world is turned inside out.

Any lovers of Guadagnino's previous work I Am Love and A Bigger Splash will be aware of how he can combine subtle humor with crippling emotional blows. Call Me by Your Name is a romantic film that sizzles in the summer heat. However, Guadagnino's brilliant piece is one that forces its audience to endure and as this tale slowly progress our hearts slowly crumble. A smart and well read 17-year-old, Elio is a confident and respected young man. Used to owning every room and dinner he visits, the arrival of Oliver automatically sends him into a flat spin. At first, disliking Oliver's natural charm and charisma, Elio attempts to avoid him. Its made apparently obvious that this unease is definitely physically related and the pair has a chemistry that is undeniable.  As the attraction between them intensifies, this sparks crackle all around.

Guadagnino's film fills its summer days with a variety of parties, dinner, dancing and endless relaxing by the pool and lakes. There is a lazy and peaceful feel to the flow of this movie, each day Elio dwells on his feelings is another lost opportunity. His parents seem aware of the budding romance between the pair and seem even to encourage it. One particularly emotional monologue by Stuhlbarg at the movie's climax is particularly heartbreaking. The pangs and longing of first love are beautifully expressed here- Guadagnino also finds some borderline creepy moments such as Elio smelling Oliver's bathing suit. Once the awkwardness melts away, a passionate love is born. Guadagnino isn't at all interested in showing explicit sex, instead, he focuses on the intimacy and the warm glow it brings. Before long the pair is becoming inseparable, but there is that inevitability that this will have to end soon.

Call Me by Your Name comes down hard on its audience during an overwhelming third act. The most poetic things about this movie are how little effect words have on the story. Every gesture, longing embrace, and pained expression tells us the whole story. Elio is shown to be a young man coming into his element but is shaken to the core over how raw and deep his feelings go. There is also a vibrancy and depth to the supporting characters too- Marzia is only a few brief moments of screen time has a profound effect. Even Elio's mother Annella (Amira Casar) is there to bring a tenderness when the movie most needs it. Few movies in 2017 are as earth-shattering as this one, the final shot is one of pure emotion. Take a moment to sit in your seat and get yourself together, you will definitely need it

Timothée Chalamet is a stunning find in Guadagnino's movie. Wearing the movie's heart on his sleeves, the young actor feels so natural it's impossible to believe he's acting. Feeling at ease with the movies rollercoaster of feelings, Chalamet is a talent that deserved to rewarded at this year's Oscars. Armie Hammer is also superb as the cocksure yet big-hearted Oliver. Coming across as the dreamy 'Odd Jew Out' All-American, Hammer draws both Elio and his audience to his brand of charm. One of the most dependable actors around, Hammer shows a newer and more rounded side to his talents. Never thought of as one for romance, this could a new career renaissance.

Call Me by Your Name will bend your heart into so many ways you will need to requisition a new one. A real romantic juggernaut, Luca Guadagnino's Suspiria remake will now be even more anticipated.

The Lady in the Water: Review of The Shape of Water

The Shape of Water

Director: Guillermo Del Toro

By Alex Watson

The most unique and offbeat tale this year can offer, Guillermo Del Toro has created something very special. The Shape of Water is a movie unlike any the Mexican maverick has made before. Known for his stunning visuals in movies such as Pacific Rim, Crimson Peak, and Hellboy, this movie is all about heart and soul. With a clutch of wonderful performances to compliment the touching story, this will be an award's season favourite.

Set in Baltimore during the 1960's, Elisa Esposito (Sally Hawkins) is a mute yet big-hearted cleaner at a government science facility. She helps care for her elderly neighbour Giles (Richard Jenkins) and she also has a strong bond with co-worker Zelda (Octavia Spencer). One day a mysterious creature known as 'The Asset' (Doug Jones) arrives along with hard-nosed and brutal security officer Colonel Richard Strickland (Michael Shannon).

Alongside DP Dan Laustsen's bright colored and vivid cinematography, Del Toro display's a delicate touch with his directing. This picture goes above the level of emotion displayed in his masterpiece Pan's Labyrinth and shows us that love isn't just bound by species. Elisa is a character who views herself as an 'incomplete' human due to her muteness but yet she brings little pockets of joy to those who know her. Giles- a gay and rather scatterbrain artist relies on her heavily to get by. At first, a mousy person who doesn't dare rock the boat, the sheer courage she displays, later on, make us adore her. When she first comes across the creature- she is naturally very curious. Slowly, she bonds with it by feeding it boiled eggs and little by little a deep bond is formed. What makes this so poetic is the fact they have to communicate without words. Connecting through music and simple gestures, Del Toro shows how the smallest actions can be the most effective.

Despite the fact, this creature poses no threat to anyone- Strickland is all about protecting national security. This picture's equivalent to Captain Vidal, Strickland is a harsh man armed with an electric cattle prod who always believes that the end justifies the means. Although a family man, the Colonel lives a very regimented existence both in and outside work. He likes to keep his wife quiet during their passionless sex and seems to have little interest in his two children. Inside work, he bullies and terrorizes the creature for little other reason than he can. What is wonderful about Del Toro's The Shape of Water is that each supporting character has their own story to tell. Scientist Robert Hoffstetler (Michael Stuhlbarg) is a man who desires to protect this creature- but yet is also a Russian spy! Giles is a failed artist who is unwanted by both his old company and the attractive male diner worker he desires. Zelda in any other movie would have been the comic relief aspect, but in Del Toro's universe, she's a key player whose devotion to her friend Elisa is unconditional.

Coming together as an unlikely army of protectors, this band of cast off's are determined to protect the Asset with all their might. The growing love between Elisa and this amphibian being is unique because both are considered not completely human. From the beginning she doesn't see this creature as something to be feared- instead, she notices a being that needs to be nurtured. Unable to express her love- there is a beautiful scene in which she imagines singing 'You'll Never Know' which gradually turns into a full-on black and white musical dance number. Credit also needs to be given to production designer Paul Austerberry whose transforms 60's Baltimore into a sparkly place of wonder. His use of teal, in particular, is stunning and his underwater scenes wouldn't look out of place in a Disney picture. Even Strickland at one stage purchases a teal Cadillac- these subtle nods towards nautical themes is one of many fascinating elements this picture possesses.

Sally Hawkins gives a performance of the highest order. Boasting arguably the finest silence turn since Jean Dujardin in The Artist, Hawkins is simply mesmerizing. Excellently projecting her character's inner torment at being unable to express herself- Hawkins brilliantly uses her sign language to both highly comical and extremely devastating effect. Reliable baddie Michael Shannon is once again memorably nasty as the button-down psycho Strickland. Heavy on 'protocol' but unafraid to bend the rules- Strickland is hulking and violent menace whenever on screen. Richard Jenkins stakes his own supporting claim with a wonderful turn as the rejected Giles. A fun reverse on the old cat person spinster character, Giles like Elisa is unloved by the world. Jenkins gives a gentle yet potent supporting turn. Octavia Spencer will most definitely be among the nominees come award season. Zelda is a character that goes deeper than expected, on the surface, she is the typical chatterbox but underneath she has the heart of a lion.

The Shape of Water is a movie that will undoubtedly grace many top 10 and awards lists this winter. Guillermo Del Toro has shown us another beautiful side of his directing, where he goes from here will be fascinating.

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.

The Innovator: Review of Steve Jobs

Steve Jobs

Director: Danny Boyle

By Alex Watson

Although it lacks the needed back story about the rise of one of this centuries greatest innovators, Steve Jobs is still a fine picture by Danny Boyle. Aided by a typical talkative Aaron Sorkin script, events play out like more of a three act play than a cinematic piece. Jobs is not made out as likable by any means but his dedication and ambition to his craft is always admirable. His relationship with those around him however, gives his life a more strained feel.

Examining three very significant events in the life of Steve Jobs (Michael Fassbender) such as the release of the ill-fated first Apple Macintosh which would lead to his dismissal. Through these moments we witness the fiery determination and the towering ego which although brought him worldwide admiration, also alienated him from those closest to him. 

Steve Jobs gives us a breathless opening inning where the clock counts down to the first launch of the Apple Mac in 1984. Jobs is fiercely determined to make his beloved machine speak 'Hello' to its audience. On display in this sequence is a complex array of emotions as Jobs berates, charms and threatens his 'Work Wife' Joanna Hoffman (A terrific Kate Winslet) and engineer Andy Hertzfeld (Michael Stuhlbarg). In this sequence we also gain a window into his human side and more importantly, his stubbornness. Jobs refuses to accept that his daughter Lisa is his child even though it has been proven. Her mother Chrisann (Katherine Waterston) cannot fathom the reason for this rejection and Jobs clings to the same algorithm that 28% of population could be the father. 

Danny Boyle doesn't set out to make Jobs any kind of Martyr figure and in truth he is both hero and villain combined. Despite warnings from Joanna such as “If you keep on alienating people for no reason, there will be no one left to say ‘Hello!’Jobs' ego makes him pay the greatest price. After he irreparably strains his relationship with Apple co-founder Steve Wozniak (Seth Rogan) and CEO John Sculley (Jeff Daniels) due the failure of the Mac and his refusal to acknowledge the success of the Apple II- he is inevitably forced out. Rather painting this as a revenge or redemption piece, Boyle instead focus on the man himself. Through this he lifts the lid and reveals the self-doubt that Jobs feels within himself, perhaps brought on by his adoption as a child. 

For all its merits, it does feel disappointing that Steve Jobs only focuses on the early years and not the breakthrough products such as the iPad. We are only briefly given windows into the early life of Jobs which although provided momentary glimpses of a far different man is not nearly enough. Boyle focuses on the technical innovation that made this man an almost god like figure to the people who brought products. Jobs believed that computers should almost be as a friendly as people themselves and his perfectionism that angered colleagues was because he believed something . There are subtle hints towards the future products that would cement the Apple name, such as his preference for all rectangle corners be rounded. In the end, Boyle does a great job of making a difficult persona into something fascinating. 

As the man himself, Michael Fassbender proves the perfect jobs as the Apple impresario. Effectively channeling his insecurities with himself along with his sophistry, Fassbender holds the movies centre with such force that eclipses all others. By far one of the best leading men this year, this could be movie another Oscar nod coming right up. Kate Winslet refuses to get upstaged by Fassbender and rings in her own fine turn as the dry humoured Hoffman. In a dowdy and more low key performance, Katherine Waterston wins the most sympathy as Chrisann Brennan, a woman struggling to raise the very daughter that Jobs frequently rejects. 

Steve Jobs might not be a movie for everyone to appreciate, but the sheer power of its central performance lights up the picture. David Fincher may have rejected the chance to bring Jobs to the screen, but Danny Boyle has proven to the perfect man to do so.