Wild Horses: Review of Thoroughbreds

Thoroughbreds

Director: Cory Finley

By Alex Watson

A chillingly dark yet utterly bold comedic effort, director Cory Finley has created one of the more offbeat efforts of 2018. With a pair of superb turns from British actresses Anya Taylor-Joy and Olivia Cooke, Thoroughbreds is an absorbing picture about two girls who are emotional polar opposites. While it struggles to keep its composure towards the end, Finley has created a world which feels completely original.

Amanda (Olivia Cooke) is a teenager with an unexplained psychological condition and because of this, she has no feelings whatsoever. Reuniting with her old school friend Lily (Anya Taylor-Joy), the pair at first sift through awkward teen bonding, until Amanda suggest something radical. Lily's step-father Mark is both physically and emotionally abusive to her and her in-denial mother (Kaili Vernoff). To deal with the problem, Amanda proposes they kill Mark.

There is a jet black and almost dreamy feel to Thoroughbreds from the moment we lay eyes upon the glamorous and affluent Connecticut where Lily resides. Amanda is not that far removed wealth wise but she is most definitely an outcast due to her being blunt and having no filter. Forced to bond by their parents under the guise of SAT prep, after badly and repeatedly lying, Lily eventually confesses to being paid to do this favour. Amanda has been become the source of community gossip after brutally euthanizing her family's prized but sick horse. Watching her describe the act in such gory details and with such little emotion gives us all a chill. What starts as an uncomfortable reunion soon turns into an unconventional friendship. Although we can help but wonder what will happen once one of them is forced to take action.

Although Lily lives the rich life, her step-father continually proves that sometimes money only masks the bigger problems. He is rude, obnoxious and scarily obsessed with keep fitting. On their first meeting, he makes no attempt to cover his irritation that a strange girl like Amanda has entered his domain. When it comes to Lily, he is blatantly cruel and doesn't care about masking it. Amanda quickly figures that killing him would solve all their problems. Their plot to be rid of him also introduces hilarious side story of the ambitious but completely inept drug dealer Tim (the late Anton Yelchin in his final role). While he brags to high heaven about one day being the main man, he is, in reality, a lonely, social awkward creep who deals drugs to kids. However, there is a humanity to this character that makes him likeable and ironically he is one of the key components of their plan.

As it progresses, the already dark tone of Thoroughbreds gets progressively darkened. The technical aspects are partly to thank for this, particularly the wonderful Steadicam work by DP Lyle Vincent. Freely gliding through different rooms of Lily's home, Vincent makes us feel like we are stepping further and further into a labyrinth. Lily and Amanda are engaged in a movie-length game of mental chess. Amanda is most certainly the more confident and strong of the two and throughout Finley's movie, her former friend is always trying to get a read on her. Their exchanges are always stifled and tense ones and underneath the coat of gloss Lily is a sly and manipulative soul and there is a coldness that would probably spook a Frost Giant on Game of Thrones.

Both Anya Taylor-Joy and Olivia Cooke are superb in their roles as the potential killers. Cooke, in particular, is the master of one-liners and although she plays a girl who is a borderline psychopath, she also gives her a loyalty and heart that most would struggle to convey. Taylor-Joy plays the picture perfect preppy teen girl but gives her a wonderful sinister undertone. Throughout she looks like a porcelain doll whose skin is about to crack from the constant pressure. Paul Sparks (best known for his stints of TV's House of Cards and Boardwalk Empire) plays the antagonist role to perfection and makes for a wonderful tyrannical father figure. Its also provides a great last role for Anton Yelchin who as loser Tim is scene-stealingly great- just a shame such a promising talent was lost so early.

Thoroughbreds a movie whose tone may not suit everyone, but you cannot deny this is a fine piece of independent cinema.

The House That Stalin Built: Review of The Death of Stalin

The Death of Stalin

Director: Armando Iannucci

By Alex Watson

The death of one of the most brutal dictators in history hardly seems like comic fodder. Somehow Armando Iannucci's The Death of Stalin emerges as the one funniest and most original comedies you will ever see. Dark humoured to the point of being almost shocking in the closing stages, Iannucci shows the lengths men of power will go to secure the biggest position of all. It is also a throwback to the type of political chicanery we seldom see nowadays.

 When Josef Stalin (Adrian McLoughlin) dies from a fatal heart attack, his cabinet is soon thrust into a difficult situation. Deputy Malenkov (Jeffrey Tambor), Spymaster Lavrentiey Beria (Simon Russell Beale) and Moscow party leader Nikita Khrushchev (Steve Buscemi) all attempt to usurp one another to get their hands on the big prize. Scandals, blackmail and the added pressure of Stalin's drunk son Vasily (Rupert Friend) and unstable daughter Svetlana (Andrea Riseborough) are few obstacles to be faced.

Iannucci firmly captures the misery and terror that gripped 1953 Moscow, all around the person you spoke to could inform on you to the authorities and as a result, everyone feels paranoid. During the opening scene, Stalin requests a copy of a live classical music performance that has not been recorded. Cue music director Andreyev (Paddy Considine) attempt to prevent both the orchestra and audience from leaving- even this small task involves people fearing for their lives. The Death of Stalin has such a unique balance of raw humour and complete shock that it makes you feel guilty laughing. His comrades at first are simply attempting to get on with business, but as it becomes clear each of them has their own agenda, things get complex quite quickly. Beria, in particular, is happy to manipulate his supposed 'friend' Malenkov into his bidding under the guise of helping him achieve power!

This struggle for power is what makes Iannucci's picture so sharp. The persona of each wannabe leader is perfectly exemplified, Khrushchev is a sly weasel whose not afraid to play underhanded, Malenkov is a vain yet weak-willed temporary leader more obsessed with how his portrait will look. Beria, on the other hand, is a more sickening and frightful creature. A vulgar, pot-bellied rapist who openly brags about the tortures and murders he has committed, Khrushchev is keen for this man to not get what he desires. Throughout loyalties are always questioned and unions are made and broken in pretty quick succession. Stalin's Russia was not a place of trust and all the main comrades know someone has to go on the block to gain power. Things are also given a shakeup in the form of Jason Isaac's Yorkshire accented General Georgy Zhukov. A blunt and exceedingly irritated officer, Zhukov is responsible for some of the movie's best one-liners "Did Coco Chanel take a shit on your head?"

The Death of Stalin is a movie that absolutely captures how a single word could lead to someone winding up dead. It also shows the lengths that men of power will go to in order to defeat an opponent. Khrushchev is definitely the politician in this affair, but Beria is a man with no concept of a 'clean fight' and some of his methods displayed are just frightening. Throughout the writing by Iannucci, David Schneider and Ian Martin is both bold and daring and they are able to take the most surreal situation and make into some of the funniest and witty banter a British comedy can offer. However, all laughs are thrown out the window during the finale as the movies more serious and shocking is revealed.

The triumvirate of leadership also presents three excellent performances led by Simon Russell Beale as the reprehensible Beria. Mainly known for his London stage word, Beale plays this spymaster with such vigour that he really gets under the skin of this character. The sheer pride he projects when joking about the latest woman he's raped is uncomfortable, to say the least. Steve Buscemi is the perfect choice to play Khrushchev and few actors could have achieved quite the garrulous effect that this character has. A man who fights with his words, Buscemi makes full use of the character's ability to swim through the different social channels. Jeffrey Tambor might have recently made headlines for his alleged sexual misconduct, but his clown-like take on Malenkov is equally strong. A leader who's already been cut loose, Tambor shows a politician clinging to what little status he still has. Jason Isaacs however, almost steals the show as the foul-mouthed Zhukov and the sheer zing he puts into each insult guarantees laughs.

The Death of Stalin is a comedy that will amuse and stun audiences in equal measure, but you will not see a comedy quite like this for some time.

Identity: Review of A Fantastic Woman

A Fantastic Woman

Director: Sebastien Lelio

By Alex Watson

Deservedly awarded the Best Foreign Language Oscar, Chilean director Sebastian Lelio's A Fantastic Woman is both riveting and highly emotional viewing. An outstanding turn by Daniela Vega is what fuels this often devastating picture. The notion of a person's identity is the key theme here and throughout this character is treated with hostility and suspicion. Lelio's picture is also a compelling look at grief and how our worlds implode when we lose those we love.

Marina (Daniela Vega) is a woman who has found love with an older gentleman Orlando (Francisco Reyes). However, when he suddenly dies on her birthday, Marina finds herself thrust into the spotlight of his estranged family and treated as a suspect by the police. While she tries to soldier on, there is a new obstacle at every turn which will drive her to breaking point.

A Fantastic Woman has an almost idyllic start as we see Marina passionately singing in a nightclub and then celebrating and dancing with her lover. Quickly the rug is pulled out when he suddenly collapses and has to be taken to the hospital. Immediately, Marina is treated like a criminal from the police due to being a transwoman and they automatically assume she involved in prostitution. Orlando also fell down the stairs previously which also makes them believe it was an abusive relationship. She is immediately stripped of her identity and treated as a monster. One scene sees her forced to undergo a physical examination, Marina overhears the hushed whispers of a sexual abuse officer and her colleague who refers to her as a man. Our hearts truly go out to this brave woman who is left in strange and horrific new world with no-one to save her.

Orlando's family is little better to her either because she receives the whole spectrum of emotional treatment. Gabo (Luis Gnecco), Orlando's brother treats her with surprising kindness but his courtesy only extends so far. His ex-wife Sonia (Aline Kuppenheim) treats her with a confused and angry manner asking how she can possibly explain their relationship to others? There is a frightening scene where Marina is abducted and mistreated by Orlando's narrow-minded and brutal sons. Ostracised from the funeral and treated as a bad memory the family wants to forget, everything looks increasingly bleak. The sheer spirit and her refusal to be ignored are what makes Marina such an unforgettable character.  Viewed as a perversion by others, her desire to reclaim her identity and self-worth make for devastating yet uplifting viewing.

Another aspect of A Fantastic Woman that haunts Marina is the ghost of Orlando. Catching glimpses of her former lover is at first painful, then we realize he might be there for another reason. Unwilling to let the past slide away, Marina becomes more resourceful in the movie's final act. Although, it comes at an uneasy price as she is forced to dress like a man at one stage. This moment is both brilliant storytelling but also a very sad reality of how her identity will always be viewed no matter how hard she tries. Lelio emerges from this as yet another hot Chilean prospect and his upcoming story of forbidden love 'Disobedience' looks mesmerising right now. This effort is one that not only puts him on the map, but its one of the strongest pieces of cinema South America has to offer.

Daniela Vega is simply outstanding in a tough role as Marina. Unfortunately left off the Best Actress list come Oscar time, this is a performance of sheer bravado. Playing a beaten woman who refuses to play the victim, Vega is heart stealing throughout. Demonstrating a screen presence which is unrivalled, Lelio has found a fantastic new talent.

A Fantastic Woman is a movie that will remind us of some painful memories of loss, the treatment of Marina will also be equally tough to watch.

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.

The Game: Review of Game Night

Game Night

Directors: John Francis Daley and Jonathan Goldstein

By Alex Watson

Thanks in part to a sharp script and spot-on cast, Game Night is a movie that satisfies on belly laughs alone. The chemistry between leads Rachel McAdams and Jason Bateman gives this movie its comedic charm. Horrible Bosses writers John Francis Daley and Jonathan Goldstein make a surprisingly effective team. While the story might be a tad predictable, there is much to like in this effort.

Max (Jason Bateman) and Annie (Rachel McAdams) love nothing more than hosting and winning game nights. However, their mood soon sours when Max's older and vastly more successful brother Brooks (Kyle Chandler) comes to town. When they allow big brother to host game night, he promises it will be on they never forget. When gun touting thugs burst in and kidnapping, the couple soon realises they are playing the most dangerous game of all.

Game Night appeals in droves early on, starting with the typical (and adorable) meet-cute when Max and Annie meet ironically during a game night. Despite being able to thrash their friends (Billy Magnussen, Lamorne Morris, Kylie Bunbury), their hopes to start are a proper family are being thwarted by their mixed opinions about having a child. To make matters worse, Brooks is in town and as one member describes he is like "The Mark Wahlberg to his Donnie!" Vastly successful and always winning against his brother, Brooks decides to one-up game night by staging a murder mystery. When criminals suddenly burst in a take him, the indifference the gang reacts with is truly hilarious. Credit to both Daley and Goldstein, for the majority of the film they do a go job of blurring the lines between real and fake when it comes to this kidnapping.

Once the group realizes how raised the stakes are, the twists keep coming and they are more and extreme each time. The standout scene sees Annie attempting to take a bullet of her husband's arm while using rubber gloves and tweezers. The fact she could only find him a squeaky toy hamburger to bite down on only adds to the hilarity. The supporting cast is also well served during this story with Kevin (Morris) determined to find out which celebrity his wife (Bunbury) bedded while they were 'on a break', the reveal afterwards provides an underrated source of laughs. Ryan (Magnussen) is the group's good looking dimwit who begins to become attracted to straight talking Linda (Sharon Horgan). There's also looming question of precisely how real are all of these events? Brooks remains an ambiguous character throughout and Daley and Goldstein are sly when it comes to their clues.

If there is one criticism to give Game Night it is that the final act is where the picture momentarily loses steam. The directing duo, for the most part, is great at keeping the laughs coming but when it comes to the big twist- it feels slightly obvious and this makes us feel let down. While this picture isn't ever going to be considered groundbreaking, you feel it has enough smarts to avoid the typical story traps. The final act is well-staged and brilliantly executed, especially they are forced to fit into a bizarre party held a wealthy criminal (Danny Huston). There is also the added bonus of having Jesse Plemon's extremely awkward and watchful cop Gary hovering by- a man desperate to join game night but creeping out all in return.

Jason Bateman and Rachel McAdams are a wonderfully matched pair. Bateman's makes the use of his typical dry wit and likeable everyman charm. Although she's a tried and tested dramatic actress, you forget just what an appealing comedic lead McAdam really is. Here her and Bateman make for a believable and extremely cute pairing which makes the film excel. Kyle Chandler is also excellent as the unbearable Brooks- on the surface, he has all a man (and Max) could want and more. Chandler shows a different and more desperate side later on but somehow retains a magnetism to this character that still draws us to him.

Game Night is a comedy to just sit back and enjoy- though consider yourselves warned if your brother ever hosts a night like this one.

Into The Abyss: Review of Annihilation

Annihilation

Director: Alex Garland

By Alex Watson

Ex-Machina showed that Alex Garland had the visual flair to make a promising director. Annihilation boosts his credentials further and this picture is a visually jarring affair. Throughout this picture, there is a haunting and malevolent ambience surrounding the events. Garland's story is one that has a continually ticking brain and forces us to consider what could happen with any possible encounters with un-human species?

Lena (Natalie Portman) is a biologist who is still reeling from the disappearance of her soldier husband Kane (Oscar Isaac). When he unexpectedly returns home, he begins acting begins acting distant and strange then suddenly collapses. Taken to a secret location, Lena is told by the mysterious Dr Ventress (Jennifer Jason Leigh) that Kane's prior mission took him inside 'The Shimmer', an area which is always widening and has claimed the lives all of who enter. Driven by curiosity and desperate to save her husband. Lena agrees to enter 'The Shimmer'.

Aided by an unsettling atmospheric score by Ben Salisbury and Geoff Barrow, Annihilation continually finds ways to make our hairs stand on end. There is a sinister presence from the moment Kane first enters Lena's home. At first, she is overjoyed to see the man she loves, but his aloof demeanour soon spoils the party. Garland spends minimal time with backstory and everything we need or want to know about our characters is given to us. Refreshingly, the characters aren't a bunch of 'get some' soldiers looking to off the baddies. Instead, we are given a group of intelligent females who are all from different walks of life. Lena is a biologist, Ventress a psychologist, Josie (Tessa Thompson) is a physicist, tough-talking Anya (Gina Rodriguez) was a paramedic and the quieter Cass (Tuva Novotny) is a geologist. All of these women have afflictions in various ways, but serious question marks point to Ventress' involvement. A soft-spoken yet sly leader, she may not be in this for 'gathering data'

This picture takes a well-trodden story of military people entering the woods and being picked off and turns it on its head. There are some real shocks in store for the audience and some truly horrifying visuals. One particularly graphic scene sees a soldier's intestines turns into a living creature. There is also the pressure question of what precisely is 'The Shimmer'? Inside it seems like perfectly normal and overgrown rainforest, but lurking in the distance is a mysterious presence. Material wise, this movie takes some big diversions away from the novel by Jeff VanderMeer. However, Garland keeps the narrative intrigue with some frequent and shocking turns. There is no interest in jump scares or any cheap trickery, so he makes full use of his bold and smart script.

There is an intelligence to this story that still remains intact despite being in horror territory. Garland forces his audience to consider the possibility of what could happen should another species arrive. Only when do we learn the true meaning of movies title does our blood run slightly cold. Our band of heroines must contend with the likelihood that this is a one-way journey. Lena in particular struggles to keep her marriage a secret so as not to unsettle the others. The final act of Annihilation is the one which will be imprinted on audiences minds. Giving us no end of tension, we are given some hard and shocking truths about earlier events. Salisbury and Barrow's score is particularly effective during this stretch and adds to the increasingly horrific feel.

Natalie Portman gives a central turn which is both tough and immensely compelling. As a woman determined to complete the mission and save her lover, she gives the movie's its heart. On the surface a collected and assured person, Portman gives her a vulnerability that makes her relatable. She's also supported by the excellent Jennifer Jason Leigh. As Ventress, she is a blank slate and her motives are always impossible to determine. Speaking barely above a whisper, she succeeds in giving an air of mystery that never once dissolves. Tessa Thompson also provides excellent support and is fast becoming one of Hollywood's most dependable talents. Likewise with Jane the Virgin actress Gina Rodriguez, who is a lifetime away from the sweet-natured character we are so familiar with.

Annihilation is a clever and unbearably edgy thriller, Alex Garland is now officially a talent to be reckoned with.

Long Live The King: Review of Black Panther

Black Panther

Director: Ryan Coogler

By Alex Watson

When first introduced in Captain America, no one had any idea the kind of impact T'Challa would make in his own outing. Black Panther under the direction of Ryan Coogler is arguably one of the Marvel franchise's best efforts. Giving a whole new spin and embracing the African identity of the character, Coogler combines thrills and comedy with a great big heart. It also taps into the notion of family and the mistakes we make along the way.

Recently crowned King of Wakanda after the demise of his father, T'Challa (Chadwick Boseman) hopes for a long and fruitful reign. But an old problem rears its head in the form of mercenary Ulysses Klaue (Andy Serkis) who is keen on giving the world Wakandan weapons. Also, there is the added problem of former soldier Eric Stevens aka 'Killmonger' who has a score to .  with the new King!

Opening on a stunning CGI recreation of the past, the deceased king T'Chaka tells his son about the history of the nation, the black panther and how precious vibranium is to Wakanda. In a seemingly meaningless prologue scene set in 1992 Oakland, we are shown how the old king is forced to deal with his traitor brother. At first, this appears nothing more than backstory but the consequences of this set Black Panther's wheels in motion. T'Challa wants nothing more than fulfil his destiny but is also still dealing with his feeling for ex-lover Nakia (Lupita Nyong'o). The scenes set in Wakanda are a visual feast of glowing purple plants, a brightly lit metropolis city and a coronation against a rushing waterfall with tribes wearing different vibrant colours.

Coogler gives us thrills early on when Klaue and Stevens make a daring raid on the British Museum in London. He always able to expertly turn the excitement on and off when necessary. Particularly during a pulsating chase sequence through the neon-lit Busan, Korea. Channelling Fast and the Furious style manoeuvres, Coogler somehow finds a way to make this one of the funniest scenes of 2017.  Wakanda's glorious and advanced technology is truly game beating here. Family legacy is very much the heart of this picture. T'Challa has some ballsy female figures as siblings with his hard as nails General sister Okoye (Danai Gurira) and his tech-savvy sister (a hilarious Letitia Wright). Shamen Zuri (Forest Whitaker) hints at some potentially dangerous actions by his father in the past.  Frequently the new king has his authority and right to rule contested. Emerging as an emotionally pained but steadfast regent, Wakandan seems like it is in firm hands.

Little by little Killmonger's plan becomes increasingly more unstable and risky. Determined to share Wakanda's resources with the world, his a killer with a humongous chip on his shoulder. He also has the physical threat down as well and in one brutal beatdown, he asserts his dominance over the new king. A radicalised crusader who unlike T'Challa has seen the oppression of his race over and over again. Killmonger emerges as one of the universe's most underrated villains. Unlike the other more notable villains intent on global domination, this guy's intentions run to a much deeper core. Coogler has formed a fascinating new franchise, may T'Challa's reign with confidence for years to come.

Chadwick Boseman gives a high-calibre turn which is surprisingly deep for a Marvel film. Through the pained expression in his eyes, we see a king getting to grips with his new responsibility and dealing with the consequences of his ancestors. Boseman has always had great presences on screen from when played Jackie Robinson in '42' and as James Brown in 'Get on Up'. A tough but noble warrior, Boseman is a welcome addition here. Michael B Jordan matches his co-star blow for blow as the vengeful Killmonger. Bringing the natural swagger he brought to Coogler's previous outing 'Creed' Jordan is a compelling nemesis. Full of blunt force and adept at getting down to business, T'Challa is right to be sweating when this guy comes to town.

Black Panther once again shows that the Marvel universe works best when it takes an unorthodox approach. Coogler has made a picture that is both thought-provoking and immensely entertaining all at once. Wakanda Forever!