Motor City Mayhem: Review of Detroit

Detroit

Director: Kathryn Bigelow

By Alex Watson

Tensions flare ferociously in Kathryn Bigelow's Detroit and from the opening frame, a city descends into anarchy. Reviewing one of the worse riots in US history, Bigelow is unafraid of showing the full horrors. At the centre, this is a picture of how lives get taken for granted when a city is out of control. 1967 Detroit is a place where the rules have disappeared and the effect of this will make audience members feel sick to the stomach by the movie's end.

In July 1967, during the third day of rioting, the Detroit police hear several gunshots from a window at the Algiers Motel. Quickly storming the building with bullets, officer's Krause (Will Poulter) and Demens (Jack Reynor) take control of the situation and line all guests up against the wall. Among the people persecuted are singer Larry (Algee Smith) and his buddy Fred (Jacob Latimore), returning Vietnam veteran Greene (Anthony Mackie) and security guard Melvin Dismukes (John Boyega). By the end of the night, lives will become irreparably damaged.

Furiously frothing away like a pot ready to boil over, Bigelow wastes no time in igniting the movie's revolt. When a raid on an unlicensed bar goes south, African-American onlookers quickly descend into looting and arson to vent their frustrations. This knife edge feel becomes unbearably claustrophobic almost immediately. Civil rights protestors are tired of feeling like second class citizens and the cops are fed up of the destruction. Officer Krause establishes himself as the primary antagonist, particularly when he casually shoots a running offender in the back. An abusive cop who makes full use of the chaos to play by his own rules. We are given time to both love/hate respective characters with Larry by far the most heart stealing. A talented singer for group 'The Dramatics' his dream gig gets pulled moments before he steps on stage due to rioting. This along with a series of unfortunate events send these different characters towards the Algiers Motel. You can sense the storm is about to hit, but you will not be prepared for the sheer force of it.

In one of the most sickening and horrific sequences of the year, Bigelow brings her audience right into the thick of a shocking violation. Physically exhausting and nauseating, this hour long experience is as close to a home invasion horror as you can get. After a prank involving a starting pistol started by pig-hating guest Carl (Jason Mitchell), Krause and co. descend upon the motel with a lust for vengeance. Honest and hard working security Dismukes also follows and his intention to do the right thing will land him a whole world of trouble. The sheer glee the officers get from threatening, repeatedly assaulting and shockingly even murdering guests is the most uncomfortable feeling imaginable. Detroit refuses to soften the blows and some audience members might want to hyperventilate into their empty popcorn bags. Krause acts as the sadistic judge and jury and the psychological torture he inflicts on the innocent people is like a fun game. The most stunning aspect to this whole thing is just how much people are willing to forget or overlook in the aftermath. Mark Boal's meticulously executed script shines brightest of all here.

Dismukes decline is possibly the most devastating aspect of Bigelow's movie. A security guard trying to act as liaison and saviour is looked down upon by both the cops who see him a siding with the enemy. Eventually, he will become an attempted fall guy. Those hoping for justice to be served and closure to be given are in for one hell of a ride. The third act is where this picture loses steam, even though our hearts are still racing uncontrollably. As the three cops and Melvin are thrown on trial for the nation to see- the steps taken to discredit and ignore the crimes that took place simply build anger and frustration. Overall 42 died and 1,200 were injured during the Detroit riots- in this picture the city is willing to overlook whatever transgressions took place and sweep this under the rug. Some characters are unable to look at life the same way again and after the trauma suffered it is little surprise.

The casting of this picture has been excellently done and Will Poulter is outstandingly evil as the baby faced Krause. A scene stealer whenever he appears, Poulter channels the joy he gets from playing his mind games. A bigoted and calculated cop, the riots have given Krause the chance to run wild. John Boyega is also excellent as the good intentioned Dismukes, giving us the same likeable charm as Force Awakens. A dedicated professional and wanting for everyone to be at peace, Dismukes is the victim of fate and being thrust into a no-win compromise is what seals his fate. Algee Smith is perhaps the most affecting performance as Larry. At first, a happy-go-lucky crooner about to hit the big time, his experience at the Algiers will send his life spinning out of the control.

Detroit is another example of just what an incredible filmmaker Kathryn Bigelow truly is. Few directors could have taken an event like this and shown the horrors in such unflinching details. Keep a spare heart for afterwards, you will need it.

Peace Time Conversion: Review of War Machine

War Machine

Director: David Michod

By Alex Watson

Scoring Brad Pitt's new movie was a major indicator that Netflix is now a main player in the feature film market. While War Machine works well in some areas, Australian director David Michod is seemingly confused whether this is a comedy-drama or a hard hitting satire piece? Despite some great comedic touches, this picture is unable to rise itself about Pitt's excellent performance.

General Glen McMahon (Brad Pitt) has recently been appointed as the command of the US Army in Afghanistan. Keen to make a big impression and admired greatly by those who serve under him, McMahon is disappointed to learn that President Obama plans to withdraw. The General has big confidence in the US coming out on the winning side, but his actions soon find him fighting his own personal war.

After the success of his nail-biting Oscar-nominated crime flick 'Animal Kingdom', Michod feels out of his depth in War Machine. An amusing opening sequence highlights just why McMahon (based on real US General Stanley McChrystal) is the man for the job. Having loyal subordinates including the hot-headed Glen Pulver (Anthony Michael Hall) and slimy civvy PR man Matt Little (Topher Grace). McMahon is an all business leader but early on the communication problems between him and Obama are highlighted. When is unable to get the face time he desires with his own commander, McMahon rashly criticises him on TV. As a result, 40,000 more troops included jaded Sergeant Ricky Ortega (Will Poulter) arrive in Helmand province. McMahon has total faith in his nation's victory, the administration he serves simply wants to end it. While the movie's first half promises a sharp and witty piece- Michod seems confused where to take it from here.

While there are moments of pretty blunt commentary on the US efforts to drag the war out. In one scene McMahon is called out for his actions by a German politician (Tilda Swinton). Michod does well in bringing to light the problems being created instead of a solution, such as the ineffectiveness of counterinsurgency. Problem is that McMahon and his men just come off as total idiots rather than lovable ones. There is also numerous side plots that feel poorly written such as Ben Kingsley impersonation of Afghan leader Hamid Karzai. Unfortunately, this adds little to proceeding other than Kingsley lying around sneezing. There is also a lack of explanation as to just why McMahon has spent so much time away from wife Jean (Meg Tilly)? Michod feels like he is trying to add more material to cover the lack of substance throughout.

Perhaps the most frustrating aspect of War Machine is that we are constantly reminded throughout how impossible the task is yet they proceed anyway. Throughout the picture seems occupied trying to find a reason to explain why this is even worth viewing? The inclusion of Rolling Stone journalist Sean Cullen (Scoot McNairy) who is cynical of McMahon's intentions is where the trouble really begins. Unaware of the consequences the crew starts running their mouths and getting drunk in public. You sense a storm brewing and the already strained relations between the White House and McMahon look ready to collapse. The General comes across as a warrior who doesn't know how to step off the battlefield and in life is always fighting fires.

Brad Pitt does well as the increasingly frustrated McMahon and manages to find the movies funny side. This role is not the deepest or even strongest performance of his career, but it is one that reminds us what presence he can bring. His character sadly doesn't live up his efforts and due to a lack of depth we never really get a full insight into the reasons behind his intentions?

While War Machine offers up some good laughs at the personnel involved and the ludicrousness of the situation, unfortunately, this isn't Netflix's strongest offering.

Grizzly Man: Review of The Revenant

The Revenant

Director: Alejandro Gonzalez Iñárritu

By Alex Watson

Branded 'The Shoot From Hell', Alejandro G Iñárritu's tough slog has produced one of the films of 2016. The Revenant is a cold blooded but thrilling story of vengeance and survival which surrounded by Emmanuel Lubezki's gorgeous picture postcard photography will stay with us. The story of Hugh Glass is not easy viewing by any means but his determination shows the essence of humanity will to beat the odds and see another day. Sweeping the Golden Globes last night, this is shaping up to be an awards season favorite.

A fur expedition led by Captain Andrew Henry (Domnhall Gleason) runs into trouble when it is attacked by a band of Arikara Indians. Losing almost a third of the men, the survivors head down river and hope for survival. Their chances are compromised when expert tracker Hugh Glass (Leonardo DiCaprio) is a savagely mauled by a bear. Left for dead by his heartless colleague Fitzgerald (Tom Hardy), Glass has the odds stacked against him. What follows is an incredible story of survival.

The Revenant is an odds-on favorite for having two of the most breathtaking sequences of this year. Surrounded by a beautiful natural light, the camps opening attack is a rare breed of horrifying wonder. The moment the Indians arrive, chaos and disorder swiftly follow. Arrow whistle through the air like angels of death and men run for survival only to be mowed down. Lubezki shows he has earned his back to back Oscar wins during this moment and it sure gets the blood pumping. Glass' attack, however, is the real eye opener and never before has an animal attack looked so beautiful. Bones crack, skin tears and the man left to contend with a far worse beast- nature itself.

On the expedition, the men vary in terms of character as Henry is a stiff and uptight leader, Jim Bridger (Will Poulter) is a newbie to this game and his fear shines brightly. Fitzgerald is the real antagonistic force of the picture, a menacing, and self-serving presence the man will lying, cheat, steal and even resort to murder to get ahead. When Glass sees his Native American son, Hawk (Forrest Goodluck) murdered before his eyes, it plants a seed of fury as he lies immobilized. After he is left in a poorly dug grave, the man is forced to literally drag himself out. His journey from there is one test after another in the wild and sees him having to fend for himself by catching raw fish and defying death by escaping down a surging river.

Iñárritu emerges as the real star of The Revenant because the little touches he makes elevate this about the ordinary man v nature picture. His use of natural light only and Steadicam along with his bold actions such as jumping into water to follow his heroes attempt to escape death are electrifying. We never truly learn Hugh Glass' backstory, but his spirit draw us to him in a big way. Continuously he defies the odds and his journey is one that is a tough watch but worth every second. Out in the wilderness and heavily injured, Glass is forced to go beyond human limits. We see him sleeping in an animal carcass, riding off a cliff to escape another attack all the while he never loses sight of the people who wronged him. It's the kind of intensity that makes the stuff of legends.

Leonardo DiCaprio gives a performance of such raw bravado that it makes the picture tick around him. With only limited dialogue, this is by far DiCaprio's most physically demanding role, but he is not afraid to play around in the dirt. What follows is one of the fieriest and committed performances you are likely to see. If this man doesn't take home an Oscar, I don't know what to think. The supporting performances are likewise excellent with Tom Hardy leading the way as half scalped bully Fitzgerald. A worthy villain for Glass to target, Hardy's malice hovers on screen even when he is absent.

Alejandro Gonzalez Iñárritu made his crew go through hell during their shoots in Canada and Argentina, but whatever risks were taken have given the desired result. The Revenant is one of the most hypnotic pieces of cinema you will see in 2016. Just proof that Iñárritu is playing at the top of his game.