We Gotta Get Outta This Place: Review of Lady Bird

Lady Bird

Director: Greta Gerwig

By Alex Watson

Greta Gerwig emerges as a talent to watch behind the camera. Lady Bird is a picture that sparkles and gives a deep yet hilarious look at the angst of youth. Dealing with people experiencing an identity crisis and the typical back and forth arguments between mother and daughter- Gerwig's movie feels refreshingly real. Although alongside the laughs there is a heavy emotional core that will audiences all the way to the bone.

Sacramento teenager Christine 'Lady Bird' McPherson (Saoirse Ronan) is a high school senior who desperately wants out of her modest California life. Eager to leave home for illustrious college's on the East Coast, Lady Bird continuously bickers with her mother Marion (Laurie Metcalfe) over her future plans. Her family is facing a crisis since her father Larry (Tracy Letts) has been laid off. Although she is capable- Lady Bird must do far better to reach her dreams.

Early on in Lady Bird, Gerwig gives a close-up example of the problematic relationship between Christine and Marion. We first see the pair returning from a college tour crying over an audio tape of 'The Grapes of Wrath'. Initially, the pair lovingly reflects on it. Within moments, Marion is nagging her daughter over her apathy about her future which soon descends into her berating her to the point where Christine physically jumps out the vehicle. Marion is a character wracked by self-doubt and anxiety and her failure to inspire or connect with her daughter pains her. By no means is either character completely likable-Christine is a fiercely independent creature who chafes under the rule of her underbearing mother. Desperate for life on the East Coast where 'writers live in the woods' Christine attempts musical theatre as a way of boosting her college prospects.

Set in 2002 during Bush's America, money and wealth is also a talking point in this picture. The McPherson's are a family barely holding their head above water. Larry has struggled with depression and being out of work has put a huge financial strain on them. Despite this, he is still willing to help his daughter with her financial aid forms. When Christine befriends wealthy and popular Jenna (Odeya Rush) she pretends she lives in a big luxurious house in an affluent neighbourhood. Gerwig puts a good spin on the pain, angst, and joy or teenage crushes. Danny (Lucas Hedges) appears to have it the complete package- wealthy, handsome and from a close-knit Irish-Catholic family. However, in one subtle yet brilliant reveal, Gerwig superbly shatters Christine's portrait of him. Dreamy rocker and wannabe philosopher Kyle (Timothée Chalamet) is the boy who seems so wrong to us but a figure of aloof desire to her.

Lady Bird is heavily inspired by Gerwig's own experiences before going off to college. This is the element that makes her directorial debut feel so raw and real. Christine and Marion are the driving force of the movie and this is possibly the most realistic mother-daughter depiction you will ever see. Marion only wants the best for Christine- but that doesn't stop her from continually observing her flaws and picking her unrealistic expectations. Christine is also blind to just how much work her mother puts into keeping the family together. Though Gerwig is always careful to remind us how each insult comes from a place of affection. Few debuts are as assured or genuine as this one- being the best-reviewed movie on Rotten Tomatoes in 2017 speaks volumes

Irish actress Saoirse Ronan once again is on firecracker form as Christine. Perfectly channeling her character's desperation to be something other than ordinary, Ronan is well cast. One of Hollywood's strongest young actresses, the 23-year-old never seeks for us to love this character- only to understand where she is coming from. Laurie Metcalfe should be the favourite on every person's supporting actress list. Known to audiences from her time on Broadway and as Sheldon Cooper's mother in Big Bang Theory. Metcalfe gives a supporting turn of sheer power and immense depth. Her Marion is a character that is always criticizing her daughter's choices. Through Metcalfe, we come to realize her words although cutting are actually being said of out love. 

Lady Bird is more than just a critic's darling this award season. Few indie efforts feels as polished or emotionally engaging as this one. Another hit for A24, who have been the studio to beat this year.

All Aboard: Review of Murder on the Orient Express

Murder on the Orient Express

Director: Kenneth Branagh

By Alex Watson

Agatha Christie has never looked so stylish. Kenneth Branagh gives his audience an enjoyable ride in Murder on the Orient Express. Showing some neat visuals and generating some lovely moments of mystique on board the cramped rail coaches. But despite sporting a wonderful heavyweight cast- we can't escape the fact that the needed tension is disappointingly absent. Branagh adds style and finesse- but this fails to really add anything new to an already well-covered story

After successfully solving a mystery in Jerusalem, world-famous Belgian detective Hercule Poirot (Kenneth Branagh) decides to take a mini holiday on board the Orient Express. While onboard, suspicious American businessman Samuel Ratchett (Johnny Depp) is stabbed to death. Although wishing to stay out of it, Poirot is the only man on board who can find the killer. This will be his most challenging case yet because all the passengers seem to have their own past demons.

Murder on the Orient Express is a very beautiful looking movie- thanks in part to the colorful and scenic photography by DP Haris Zambarloukos. Branagh definitely has the look of the era down and he is clearly having a ball playing the egotistical but brilliantly minded detective. Nailing down the more tricky aspects of his persona (including his obsession with having two perfectly symmetrical eggs)- Poirot is a nemesis for any criminal. When the passengers are loaded onto the train in Istanbul, the tension begins to build wonderfully. Ratchett emerges as a rather crass and bullying figure who is beginning to fear for his life. The passengers nervous and scornful looks they pass at each other give sparks of mystery.

When the big moment hits- the air seems to go out of the picture. The suspense seems to feel flat and although the legendary reveal is still clever, in this adaptation it just feels predictable. The cast that Branagh has assembled is wonderful to watch, but great names such as Judi Dench, Derek Jacobi, Daisy Ridley, Michelle Pfeiffer, Penelope Cruz, Josh Gad and Willem Dafoe are confined to bit parts. As the mystery unravels there are some fine moments of emotion on display. Josh Gad, in particular, comes up with some fine acting which gives depth to a complex character. Poirot already seems to have an idea of who the killer is, but knows he must tread carefully. The claustrophobic setting of the train carriages is still nerve-wracking in places. With the train derailed by a snow drift, Poirot knows every step he takes could be dangerous.

Classic mysteries like Murder on the Orient Express are rarely seen in today's film world. Although Branagh still gives us a great middle of the road thriller, you can't help feeling that this tale feels dated. Already well adapted for film and television, Branagh is unable to bring any new to proceedings. Any newcomers to this story will be able to guess to the big finale from a mile away- partly because Poirot gives red herrings throughout. Although there are some missteps its a picture that still entertains and on the visuals and star power alone, this is a good journey onscreen.

Kenneth Branagh does an interesting new spin (and new mustache) as the famous Belgian Poirot. A more physical version of this character, Branagh is unafraid of doing more heavy lifting that sitting around. He wonderfully shows the more quirky side to this character and is unafraid to give light to his arrogance. However, TV's David Suchet remains the perfect Poirot. In the supporting ranks, we are given some performances to savour. Michelle Pfeiffer, in particular, is glorious as the conflicted Caroline Hubbard. Derek Jacobi still shows he has a presence that few veterans as the tricky Edward Masterman- his character alone deserved more screen time.

Murder on the Orient Express is a mystery that is still rightly regarded as a classic. However, despite Branagh's best efforts, it doesn't feel any newer on screen.

Mississippi Burning: Review of Mudbound

Mudbound

Director: Dee Rees

By Alex Watson

Dee Rees' Mudbound is a movie that is unafraid of tackling a dark point in US history. Among the muddy fields of Mississippi, the racial tension simmers. However, Rees also makes the human struggle element clear because this story is about how one piece of land causes a great divide among families. There is also a notion of brotherhood and two characters although worlds apart are drawn together by a terrible experience. The end result is an emotionally engaging piece.

Henry McAllan (Jason Clarke) leaves his idyllic city life in Memphis to pursue his dream of owning a farm in Mississippi. The move is hard on his wife Laura (Carey Mulligan) who struggle to adapt to living in a shack with no running water or electricity. She is also drawn to his war hero brother Jamie (Garrett Hedlund) who is affected by his combat experience. At the other end of the spectrum is sharecropper Hap (Rob Morgan) who has five children with wife Florence (Mary J Blige)- their son Ronsel (Jason Mitchell) has also returned home from WWII but faces another war altogether.

While six different characters providing narration does feel like overkill in places, there are few complaints to be had about Mudbound. Rees is able to draw us to each individual characters and bring them into their innermost thoughts. There is an unspoken sense of order through the early stages of this picture and from the moment Henry's family arrives, Hap knows their place in the world. His family has worked on the land for generations even though the land will never become his. " this character continually wonders about his place. While Henry is never outright hostile or unkind, his Pappy (a delightfully evil Jonathan Banks) is very much upfront with his hostility. Refusing to even sit next to Hap in the front of their car, his blunt hatred causes friction whenever he appears.

Jamie's arrival is one that stirs the pot. Permanently drunk and suffering from PTSD, he is saddled with a deep-seated guilt over the soldiers he failed to save in WWII. Laura is drawn to his kindness as he seems to embody everything her husband isn't. When meeting Ronsel for the first time, the pair do not see black or white but a fellow combat vet. Their friendship blossoms because they both understand the horrors of war. Sadly it also ignites a furious reaction from Pappy and what transpires is truly horrific. At the height of segregation, this friendship becomes the movie's heart and soul.  Laura's story is also one that brings a sadness to our hearts. A woman trying to make the most of the soggy and mud-filled land she occupies, she also chafes under the dominance of her unlikable father in law and her distance husband.

Rees's takes her audience into a time that most American audiences wish to forget. In 1940's deep south, there was an obvious social ladder and Hap and Florence's family unwittingly found themselves on the bottom rung. The intense hatred and hostility are at times also unbearable to watch. Especially during a tense sequence where Ronsel attempts to leave via the front door of a shop. Pappy and his equally racist pal are quick to ensure he knows to leave through the backdoor "I don't know what they let you do over there, but you're in Mississippi now!" Hap and Florence are bravely trying to build their own dream despite the odds being stacked against them. The notions of losing and keeping faith are strongly enforced- Laura is continually losing hope over her husband's perhaps foolish intentions.

While Carey Mulligan gives a stand-out turn as the struggling Laura, she is almost a background player in this story. Garrett Hedlund is outstanding in a strong supporting role and firmly captures a man wrestling with his conscience. Dismissed as drunk by both his brother and father, Jamie carries a burden few men understand. Hedlund is definitely Oscar-worthy here. Jason Mitchell's Ronsel is the character who will capture your heart. A brave soldier, he comes home to find the old problems that plagued his life are still there. Mitchell's barely contained disgust is mesmerizing to watch and on merit alone, he deserves to rewarded. Mary J Blige is the one tipped for Oscar glory and as in a powerful and less showy turn- she thoroughly lives up to the hype.

Mudbound is a movie that captures the struggles of everyday people trying to live a dream. It is also a powerful voice about a dark era of US history.

A Stranger In My Home: Review of The Killing of a Sacred Deer

The Killing of a Sacred Deer

Director: Yorgos Lanthimos

By Alex Watson

Colin Farrell and Greek helmer Yorgos Lanthimos are becoming the new odd couple. After collaborating on the bafflingly brilliant picture, The Lobster, once again they strike gold. The Killing of a Sacred Deer is a bold, brave yet disturbing feature film. Lanthimos may confuse some people with his mixture of sadistic humor with high tension. Those who are familiar with his style will be blown away by one of the best movies of 2017.

Steven Murphy (Colin Farrell) is a successful surgeon who is bonding with troubled teen Martin (Barry Keoghan). Happily married to Anna (Nicole Kidman) with two children, everything seems pretty rosy. However, Steven was also the surgeon who operated on Martin`s father when he died. One day, Martin reveals he has placed a curse on the family and now Steven must kill one of his own family to balance the scales.

There is an eerie and distorted feeling from the very first moment of The Killing of a Sacred Deer. Kicking off with a bizarre conversation between Steven and colleague (Bill Camp) about watches- Lanthimos clearly intends to take us in all different directions. Steven`s relationships with others are put under the microscope early. Barry seems to have an almost mentor friendship with him, despite the deliberately strained conversation. There is also a heavily sinister undertone and Martin is always showing up unannounced at the hospital. Anna is a loving and doting wife and willing allows him to explore his fetish of having sex with her while she pretends to be asleep. Although everything is picture perfect on the outside- Martin slowly exposes the flaws the family has and pretty soon things become tense.

Quickly Martin asserts his dominance over Steven's daughter Kim (Raffey Cassidy) and son Bob (Sunny Suljic). One moment sees his daughter get undressed in front of him, only for him to casually reject her. Guilt is another factor that is heavily implied throughout Lanthimos' picture. Steven carries a burden from the night Martin's father passed away. His refusal to acknowledge his potential liability marks him out as prideful and stubborn. During the early stages, we are never sure whether Martin is toying with Steven or is genuinely interested in bonding with him. During a freaky dinner at Martin's, his mother (Alicia Silverstone) makes a bizarre pass at his 'beautiful hands' and the rejection that follows seems to be the catalyst for what follows. In a shocking yet brilliantly underplayed sequence, the young man reveals the terrible truth. In a nervous and overly fast voice, Steven is informed that if he doesn't kill one of his family, they will all become paralyzed and slowly die.

From this point on The Killing of a Sacred Deer transforms into pure psychological horror. Thanks to the terrific camera work of Thimios Bakatakis we are drawn into every father's worst nightmare. Out of nowhere, his children get sick and no solution can be found. Steven transforms from a cool and collected being to becoming a wounded tiger. Soon he resorts to increasingly desperate measures to try and salvage a no-win situation. The moral implications of what he will have to eventually do are almost sickening. Lanthimos drags his audience through the whole spectrum of emotions and we all know that we cannot look away.

Colin Farrell demonstrates that with the right director he can be a revelation. Carrying the movie's emotional and mental core- Farrell shows a side of his acting we have seldom seen. Some may still sneer at his ability (particularly his big-budget failures) but its impossible to deny that he is Oscar-worthy here. Nicole Kidman also gives strong support as the suffering yet committed Anna. Almost the Lady Macbeth figure, later on, she is the one behind the scenes keeping it together. Newcomer Barry Keoghan almost steals the picture from Farrell with a menacing turn as Martin. From the moment he enters his permanently monotone voice is immediately unsettling. Keoghan is a star we need to watch closely.

Some may find The Killing of a Sacred Deer extremely unsettling, but Yorgos Lanthimos is very different kind of director. On tension and style alone, this is brilliant filmmaking.

Hammer Time: Review of Thor: Ragnarok

Thor: Ragnarok

Director: Taika Waititi

By Alex Watson

After the underwhelming sequel, 'The Dark World' many Thor fans were left wondering where the Thor could possibly go next? Getting Taiki Waititi in the director's chair was the smartest move imaginable. Thor: Ragnarok is a sharp and funny ride that finds its humor in very unlikely places. Unlike previous director`s, Waititi is given free reign and the success of the movie comes from his lack of reliance on action scenes.

When estranged sister Hela (Cate Blanchett) aka the Goddess of Death returns, Thor (Chris Hemsworth) finds himself in a tricky situation. Exiled the garbage planet of Sakaar, he finds himself forced to fight as a gladiator for the Grandmaster (Jeff Goldblum). However, while on this planet he finds himself reacquainted with his old buddy Bruce Banner (Mark Ruffalo) and once more facing off against troublesome brother Loki (Tom Hiddleston).

After showcasing his unique brand of funny in his acclaimed movie `Hunt for the Wilder People`, Waititi was an unusual candidate for Thor: Ragnarok. He proves to be an inspired choice because he is the first director to really channel the comic gold this character has. Watching a dangling Thor slowly enraging villainous demon Surtur (voiced by Clancy Brown) during a threatening monologue immediately sets the tone. In other hands, the mashed together plot involving usurping, past murders and slavery could have been a messy affair. Waititi makes it seems like a breeze and keeping the focus on comedy makes this a much better viewing experience.

When Thor literally arrives with a bump on Sakaar, much of the comedy is found here. Grandmaster is the most Goldblum role that Jeff Goldblum will ever play. A smooth-talking tyrant with his fingers in many pies, Thor's entry into being a gladiator couldn't have been worded more nicely. The showdown in the arena between Odinson and the Hulk gives us a hilarious verbal and physical battle. This also lasts outside the walls as the pair squabble throughout, including a brilliant reaction by Thor to seeing the Hulk's green dick. Waititi, also plays the scene-stealing rock gladiator Korg, in his soft-spoken voice he provides the bulk of belly laughs. There's also the added problem of Loki being around. Morally ambiguous at every turn, once more his brother makes it hard for him. In this installment, sibling rivalry is present but almost takes a backseat. Although we do learn how they play the game 'Get Help' (recommended for all to try at least once).

As a villainess, Hela feels like Thor: Ragnarok's weak link. Although central to the plot she just comes across as just a moody and bitter relative. Banished from Asgard after her genocidal desires outgrew her father's, Hela has the potential to have a cold, malevolent presence. While she physically matches Thor, she lacks any kind of real threat. Although there is a fine supporting turn from Tessa Thompson as a former Valkyrie. Scarred by her past encounter with Hela, Valkyrie has resorted to heavy drinking and slave capturing to get by. Getting her on board to protect Asgard is a major hurdle and she makes Thor work for it. The emotional content of this movie also makes Ragnarok creak slightly. Waititi effortlessly blended heavier content with a light touch in Wilder people but for a picture like this, it feels unnecessary. When a movie crams so much into one film, they can't all winners, unfortunately. Aside from this, there are few grips to be had and Waititi is welcome back to tickle our ribs anytime.

Chris Hemsworth has molded Thor so well it fits him perfectly. One of the few action movie stars capable of both great depth and sheer comedy, Hemsworth once more stands out. Tom Hiddleston again makes a great love/hate figure. His facial expressions alone make his character impossible to pin down and Hiddleston is clearly loving every minute. Cate Blanchett should have been a fine nemesis but finds herself stranded in a one-note role. Mark Ruffalo is also able to find his funny side as Banner. Hilarious neurotic and forced to wear Tony Stark's tight pants, he is barely keeping his green friend inside. Anthony Hopkins in one very brief scene still shows just why he is one of few remaining greats. In a single monologue, he can conjure up feelings of remorse, fear and ultimately hope. It's a shame the central pairing didn't get more time alongside him.

Thor: Ragnarok is very much the strongest of the trilogy so far. Taika Waititi proves he can handle the big-budget pieces and let's hope the Marvel Universe brings him back for the next installment.

If I Were a Rich Man: Review of Brad's Status

Brad's Status

Director: Mike White

By Alex Watson

Ever wondered if your life was worth a damn? Mike White's movie Brad's Status is a picture for anyone going through a crisis. We frequently compare our achievements against those who have greater success. We always want more and curse ourselves for not trying hard enough. White throughout makes us wonder where doing this actually gets us anywhere?

Brad Sloan (Ben Stiller) is a 40-something man who runs a non-profit organization. Even though he has a happy life with life Melanie (Jenna Fischer), he feels like a failure compared to rich buddies Craig Fisher (Michael Sheen), Billy Wearsitter (Jermaine Clement) and Jason Hatfield (Luke Wilson). A trip to Boston for his son Troy's (Austin Abrams) college interviews sparks a voyage of self-realisation.

From the opening of Brad's Status, it becomes clear that the man is at crisis point. His one employee has quit on him because he wanted to make money rather than beg people for it. Very much a man of first world problems, Brad's jealousy as he looks through his friend's social media updates is poorly masked. He questions everything in his life, even wondering if his supportive wife should have pushed him harder? The question of selling out is a big point in White's movie- his friends have all become rich through various ventures while Brad who is trying to help people feels like he is going backwards. When trying to go through a VIP line at the airport he is turned away because he 'only has silver membership'.

Constantly Brad mulls over how things could have been. His jaded view doesn't always make him a pleasant on-screen character. In one moment, he urges a young college student to sell out on her 'for the people' views because it is how people make money. Within seconds he is fighting for control and digging himself a deeper hole. Refreshingly the girl he talks to calls him out on his self-pity and entitlement. White's direction stunts the film's growth in places and he feels the need to map out precisely what Brad feels constantly. Its apparent to the audience due to the frequent voice-over where he bemoans "This is not the life I imagined!" His obliviousness to his superficial friends is at times hilarious because Brad has a life many single men would long for.

Brad's Status is a movie that is well aware of itself and White refuses to let him picture wallow in sadness. We all know there will be a lightbulb moment which helps Brad clue into his worth. His relationship with his son feels slightly underexplored even though his happiness and future are central to Brad. In one scene he panics to his son over his underdog status getting into Harvard and worries about him being a white kid without a sob story. There is also a good intelligence to the story and thankfully it never once urges us to feel any pity for our hero. White might not be the skilled director he wants to be yet, but his writing is always sharp and inviting.

Ben Stiller is on familiar ground in this piece, because of this is able to carve a very natural performance. His Brad is a man wrestling with himself and Stiller is able to make him believable without seeming self-loathing. Michael Sheen is what amounts to a brief cameo is wonderfully arrogant as his frenemy Craig. That one friend who constantly pats himself on the back while oblivious to the needs of other is all too familiar. Sheen does a great job of channelling a man clueless to his own unlikeability. Credit to Austin Abrams too, in an underused role as Brad's son, he has some fine underplayed moments alongside Stiller.

Brad's Status is not the indie darling it so desperately wants to be, but it will help anyone struggling to see the upside of life.

About A Girl: Review of Una

Una

Director: Benedict Andrews

By Alex Watson

There is an undeniably stagey feel to Benedict Andrew's film Una. An adaptation of David Harrower's play 'Blackbird', this movie is a powerful look at how the past can still hurt us. Rooney Mara and Ben Mendelsohn make for a fine central pairing and their back and forth verbal duals make this picture electric to watch. Unfortunately, the movie struggles to fill the gaps where they are urgently needed.

Una (Rooney Mara) finds a picture of her ex-lover Ray in a newspaper. Having not seen him in 15 years, on impulse she travels to his workplace. Ray is less than thrilled to see her and her presence brings us a past that he wants to leave behind. Una however, refuses to be ignored and is intent on discovering why he abandoned her all those years before.

Anyone who sees Una will be shocked to discover early on that this picture deals with a forbidden romance between Ray and a 13-year-old Una. Ray sexually abused her at a young age and the pair were planning to run away together. But one night her supposed lover disappeared leaving Una to pick the pieces. Showing no fear or reluctance about her past- Una confronts him head-on about things. Although Ray openly admits there was a romance, he refuses to admit he abused her. Throughout the pair shows a different acceptance of the past, Ray went to prison but has moved on. He now has a wife and a secure management job. Una on the other hand, refuses to let things lie and demands to know why the man she thought loved her just disappeared? Set mostly within the confines of a warehouse, the pair is literally boxed in and there are no places to run to.

When Una and Ray are on screen, the movie pops with bright colour. At first, Una is very dominant and her aloof and frank approach to calling her abuser is almost seductive. Ray is a man who in brief flurries we feel a pang of sympathy for, especially when he describes his prison experience. Though we must be careful not to become too attach and as past flashback reminds us, it was him who groomed Una. Although he has done his time and wants nothing more than to settle down with his new wife, his former lady feels an injustice as she was still made to suffer afterwards.  Andrew's makes neither character likeable, then again they are not supposed to be. The way Andrews moves between two timelines showing us adult and young Una (an excellent Ruby Stokes) is haunting. Teenage Una is a girl with a sly confidence above her years, which Ray quickly feeds off. We are never shown any of the illicit acts taking place, but the implications are far scarier.

Outside of their rollercoaster of emotions, Una struggles to find a sure footing. Very few supporting characters are given any kind of screen time. Ray's co-worker Paul (a disappointingly underused Riz Ahmed) is one of the few who gets any kind of attention. Unfortunately, the movie cannot shake it stagey feel and as the pair hops from one part of the warehouse to another, there is a little room for the story to move. Also, its lack of a satisfying conclusion is one aspect that will frustrate viewers. Andrews excellently builds up the emotional and sexual tension to a stifling level. Problem is the movie has no way to really release it so we are left with a third act that has a deflated feel. There is one moment which will stick in the memory, we see Una curled up on a child's bed as she remembers being with Ray on a Ferris wheel. At first, the scene starts out as touching and affectionate, but by the end, it borders on seductive and uncomfortable.

Rooney Mara is absolutely excellent as the title character. Making full use her character's longing and pent-up anger, she gives a performance of complex emotions. Still loving and hating this man, Una is a woman who is still stuck in a time warp and unable to move on. Mara is one of Hollywood's most capable talents and she is on fiery form her. Ben Mendelsohn matches his co-star blow for blow and the most impressive aspect of this performance is how measured it is. Ray is undoubtedly a monster and paedophile but is trying to bury his past and become something new. We are given timely reminds of what crime he committed, but Mendelsohn gives an everyman charm. One of the most underrated actors on the planet, hopefully, this year he gets noticed at award season.

Una is a movie is worth seeing for the performances alone. It might not suit all tastes, but its quality of acting cannot be denied.