There's No Easy Way Out: Review of Creed II

Creed II

Director: Steven Caple Jr

By Alex Watson

While it is a little by the numbers and predictable- Creed II is a still solid and enjoyable sequel. The last effort by Ryan Coogler was one devastating hook that floored even the most die-hard Rocky fan. However, with Coogler heading to Wakanda, his replacement Steven Caple Jr is still able to deliver a gutsy bout. Now officially Stallone's final ever outing as the Italian Stallion, Michael B Jordan assures us that this franchise is now in safe hands.

Adonis Creed (Michael B Jordan) has taken the heavyweight division by storm since his defeat in the prior film. Now the champion, he is keen to set about years of domination and building a future with girlfriend Bianca (Tessa Thompson). However, lurking in the shadows is the brutal and hulking Russian fighter Viktor Drago (Florian Munteanu), the son of the very man who killed his father, Ivan Drago (Dolph Lundgren). While keen to avenge his father's death and create his own legacy, Rocky Balboa (Sylvester Stallone) is not so keen on this matchup.

While Creed II, for the most part, is a well-acted and nicely executed piece, there is a sense they are just looking to draw out the mileage. A large portion of the movie is bogged down by any number of motivational speeches by Rocky about how Adonis has to go outside of what he knows. The last installment injected real heart and soul in places fans were surprised by. This time there seems to be a little too much brooding going on in between fights. Adonis is a character who slowly is growing on Rocky fan's and to be fair, the movie does capitalize on his rash and impulsive desire to beat Drago. Barely crowned champion, Rocky knows he is walking into a world of trouble.

When in the ring, the movie packs all the needed punches. Viktor is a man 'raised by hate' and Ivan's failure to beat Rocky robbed him and his son of a prosperous future. Their first bout together is a painful affair to watch and Viktor has more than inherited his Dad's brute force- he has gone above it! Adonis' challenge is made horrifically obvious here. While there is an excellent but all to brief reunion scene between Rocky and Drago, the father/son duo is mostly confined to being background villains. Which is a great shame because there is a wealth of story available about Drago's decline and desire for resurrection. This sequel is much like many of the previous Rocky outings and outside of the punches thrown, the story tends to lag.

Part of the issue is that Caple Jr seems more concerned with diverting the movie into unnecessary subplots. Bianca's story is one of the moving ones as her progressive hearing loss is becoming more potent. However, Creed II also loses valuable over whether Adonis and Bianca's newly born daughter will also inherit the same condition as her mother? Viktor and Ivan are also dealing with their own issues as Viktor is being embraced as a hero by Russia. Ivan is keen to return to the fold, but Viktor is wary of playing the puppet figure after his own Dad's notable failure. Any gripes we have are easily thrown aside with the number of enjoyable training montages. This sets the scene for a return to Moscow for another East vs West (or man against man) showdown. Like Rocky IV before it, the odds are stack against our hero and this is where the picture feels at home.

Michael B Jordan is finally making the character of Adonis Creed his own. In this installment, he is able to channel the swagger and confidence of the character and take it another level. Jordan also hones in on the self-doubt that Adonis possesses. Mentally conflicted and feeling obliged to avenge his father's honor, we see a newer and more vulnerable side. In many ways, it feels devastating that Stallone will never again grace our screens as Philly's finest. As Rocky, he gives a wonderful if not lower key send off. A man weary of the fighting world, Rocky is forced to look at his life and Adonis' decision to fight Drago is one that shocks him to the core. Still agonizing over his decision not to thrown in the towel for Apollo, Rocky is keen not to see another Creed perish.

Creed II has its faults, but at heart, it has all the enjoyment and charisma that one might expect from this franchise. Farewell Sly, you did it!

Stupify: Review of Fantastic Beasts: The Crimes of Grindelwald

Fantastic Beasts: The Crimes of Grindelwald

Director: David Yates

By Alex Watson

Two installments in and the Fantastic Beasts franchise is still struggling to find sure footing. The first outing had some kinks but Fantastic Beasts: The Crimes of Grindelwald fails to iron them out. While there are individual moments that impress, the amount of CGI finesse cannot disguise the thinly layered plot and the lack of narrative. The wizarding world is a place of limitless potential, but in the hands of David Yates, its effect is starting to slip.

Permanently banned from international travel after the events in New York, Newt Scamander (Eddie Redmayne) is thrust back into the fight against evil by old professor Albus Dumbledore (Jude Law). Meanwhile, evil wizard Grindelwald (Johnny Depp) cunningly escapes from prison and sets his plan to have pure-bloods dominating both the wizard and muggle worlds. There is also the added problem of troubled young wizard Credence (Ezra Miller).

Fantastic Beasts: The Crimes of Grindelwald is a rather tame beast throughout. Often promising more than it delivers, we are left with what feels like a build up for the next installment. The first half certainly delivers some stunning pieces- such as Grindelwald's daring escape from a flying carriage. This picture also makes the most of its 1927 Paris setting and the cinematography by DP Phillipe Rousselot is among the movie's biggest accomplishments. Sadly JK Rowling's script is content just to plod along exploring any number of side plots. Newt is still dealing with the fallout from his New York adventures and is unwilling to 'pick a side' with the upcoming good vs evil fight. This character while the clear lead is oddly rather bland and unappealing. Newt still pines for his crush Tina (Katherine Waterson) and a large portion of the movie teases the 'will they/ won't they' business.

Some of the major plot points hit- such as muggle Jacob (Dan Fogler) attempt to keep his romance to Queenie (Alison Sudol) on track. A mismatched pair as Queenie is pure blood, this gives us the very definition of a doomed romance. Credence is a character that everyone pursues- but in reality, his character is given little to do except look sullen. Grindelwald while a scene grabbing villain is restricted to only a couple of key scenes. His appearances provide some bursts of colour and potential for an epic showdown. This lack of inclusion proves frustrating and the movie seems more invested in bringing to light the backstory of Lita LeStrange (Zoe Kravitz) than it does with developing its villain. While Dumbledore's inclusion does throw more light on what is ultimately a very bold and tricky wizard, he is given barely any time to make an impact.

Perhaps the most frustrating aspect of Fantastic Beasts: The Crimes of Grindelwald is its lack of resolution. Towards the end, Grindelwald holds what is arguably a mass pure-blood rally. Rather than going away satisfied after a mass magic battle and some closure thrown in for good measure- we are instead left confused and deflated. What feels like a blockbuster finale is in fact rather flat and lifeless affair. There is a cliffhanger feel and perhaps the third outing with finally satisfy all tastes. David Yates is now on his sixth outing in the wizarding world. He did a stellar job over the final four Harry Potter films. So far, the Fantastic Beasts franchise has been less kind to his abilities and this begs the question if he should make way? Some blockbusters know how to leave audiences wanting more- this picture does it the wrong kind of way.

Eddie Redmayne while a capable actor doesn't feel like a good fit for Newt Scamander. Often struggling to completely convince as the awkward and bumbling wizard, Redmayne has yet to find the groove of this character. Katherine Waterson is one of the most underrated actresses on the planet. Once more she is shortchanged in a big movie and her Tina Goldstein is given little chance to make an impact. Johnny Depp however, despite a lack of screentime is thoroughly commanding as Grindelwald. There was controversy galore over his casting, but Depp is very much the villain the series needs.

Fantastic Beasts: The Crimes of Grindelwald is a movie that promises a great deal but seems content to let its audience sit and wait.

Dance, Dance Revolution: Review of Suspiria

Suspiria

Director: Luca Guadagnino

By Alex Watson

While Luca Guadagnino's Suspiria remake attempts to do something bolder, the end result borders on frustrating. Smartly, he doesn't attempt to remake Dario Argento's cult classic shot for shot. Instead, he decides to focus on the political climate of 1970's divided Berlin. However, despite some fine trickery and some fine set designs, his story feels weak and unpolished. Also, although his style is flashy, his techniques often get in the way of the film and frustrate rather than amaze.

Susie Bannion (Dakota Johnson) is an American dancer who has traveled to Berlin to enroll at the Tanz Dance Academy. Despite no formal training, her natural talent dazzles Madame Blanc (Tilda Swinton). The studio is still reeling from the mysterious disappearance of star performer Patricia Hingle (Chloe Grace Moretz). As Susie begins to make her mark and make friends with fellow performer Sara (Mia Goth). It becomes clear this academy has some sinister activity lurking.

Argento's original was notable because of his use of vibrant colors, his mastery of suspense and the screeching and blasting soundtrack by prog-rock band Goblin. Guadagnino to his credit attempts things a little differently. His use of more muted colors fit in well with the grey skies and the continuous rain of a divided Berlin. This version of Suspiria is lacking the needed tension and we are aware of the illicit activities of the academy almost from the get-go. Refusing to conform to horror film standards, Guadagnino emerges the wrong director to helm a slasher remake. His over-focus on the more artistic side prevents the film from making progress. The editing, in particular, is at fault and frequently we see gruesome murder scenes set against any number of flashy dance sequences. Guadagnino's use of voiceover to convey the potentially sinister intentions of the academy leaders often falls flat because the audience is not quite sure what it is supposed to be seeing?

Part of the issue comes from the setting and there appears to be a big focus on the guilt of a nation's past. Setting this movie in the same year of release as the original feels like a clever idea- but this movie doesn't need a political commentary. The character Dr. Josef Klemperer (credited as Lutz Ebersdorf but actually Tilda Swinton in prosthetics) receives particular heavy focus as he reflects on the disappearance of his wife Anke (original Susperia actress Jessica Harper) during WWII. However, this character just feels like an excuse to draw a thin plot out even further and although he adds an element of mystery, you feel this picture could succeed without him. Part of the issue with this remake is the characters themselves are almost like a blank slate. We get glimpses of Susie's Amish upbringing and her fractured relationship with her dying other. Here there are some hints of some supernatural elements. Sadly the plot is sacrificed in favor of design and this gives the movie a rather bland feel. The ending does possess an extremely clever twist, but its executed in such a baffling style that anyone will need multiple viewings to really understand it.

One saving grace from Suspiria is the excellent and often enticing dance sequences. As mentioned before, these frequently tie into some of the pictures most disturbing moments. Particularly when student Olga (Elena Forkina) has her body twisted more ways than a pretzel during one of Susie's dances. While slightly overused, these sequences offer up a bewitching montage which gives a boost to the dark horror surrounding the company. You can almost feel the evil forces lurking and being summoned with each breathless move executed. Guadagnino has some clever ideas for this remake, it's just a shame they are all tied to these moments.

While Dakota Johnson initially impresses as the sheltered Susie, she is unable to completely convince throughout. This role requires an actress with the ability to transform and Johnson is unable to make the character to the extent needed. Previously working with Guadagnino in 'A Bigger Splash' she has shown she is able to manipulate the viewer. In this effort, her character is nowhere near interesting enough for us to care. Tilda Swinton, as usual, is in fine form as the icy Madame Blanc. Interestingly, Swinton gives her enough intrigue that she doesn't serve as the main villain of the piece. Playing instead a woman bound to ancient traditions and forced to resort to underhanded means to make her leaders happy. Chloe Grace Moretz is literally a blink and you'll it miss figure in this remake. Mia Goth, however, is fast becoming a dependable and scene-stealing actress.

Luca Guadagnino's Suspiria is a horror movie with a surprising lack of horror. His aims are admirable but they are also what becomes this remakes undoing.

Hammer to Fall: Review of Bohemian Rhapsody

Bohemian Rhapsody

Director: Bryan Singer

By Alex Watson

There was controversy surrounding Bohemian Rhapsody before it was even released. Due to continuous problems and behaviour surrounding director Bryan Singer- Fox was forced to fire him and hire Dexter Fletcher to finish the film. The result is a mixed success and although this movie does firmly capture the spirit and energy that Queen brought the music world- its depiction of Freddie Mercury feels almost too safe. However, Rami Malek proves to be the movies secret weapon and he perfectly embodies the great performer and persona that Mercury truly was.

In 1970, a toothy oddball named Farookh Bulsara (Rami Malek) meets two other misfits called Brian May (Gwilym Lee) and Roger Taylor (Ben Hardy) who perform in a struggling band named Smile. Together with bassist John Deacon (Joseph Mazzello), they form the band Queen and quickly ascend to the dizzying heights of music glory. While Freddie quickly becomes the face of the band, problems begin to develop both in and outside the band.

You can sense that Bohemian Rhapsody is treading a very careful path when depicting the life of Mercury. This was an artist who was unafraid to push the boundaries of what was appropriate, yet this movie feels very overly cautious and seems to determined just to play the hits. Singer glosses over the early years of Queen with too much speed. Immediately they go from playing colleges and pubs to selling out arenas. We never get the sense of success being earned the hard way and Anthony McCarten's script seems overly focused the life of Mercury. There are moments of hard-won respect- such as their struggle against the pushback of releasing the experimental Bohemian Rhapsody by EMI boss Ray Foster (Mike Myers). Their refusal to budge and confidence in their success makes you want to stand up and applaud. The band here is shown as a unit and more of this should have been included.

When it comes to Freddie himself, the movie sparkles brightest and injects real emotion and heart. As a character, he is always ready with a quick wit and has a stubborn streak a mile wide. Ever the perfectionist, he is always shown to strive for best- even if it means making Roger sing 'GALILEO' multiple times. Despite this fine and moving portrayal- Singer and McCarten seem afraid to depict the man he truly was. The over-focus on his lifelong companionship with Mary Austin (Lucy Boynton) feels like a misstep and we only get the briefest look at the romances he shared with any male lovers. In particular, it largely ignores his loving relationship with Jim Hutton and his eventual death from AIDS (referenced fleeting in an end title card). Were they afraid to tarnish the name of a man who was unafraid to bend the rules and live life to the fullest? This cautious feel drags down what could have been a great biopic.

While its scripting and feel might not sing the high notes, Bohemian Rhapsody does excellently bring to life just how energetic and fun Queen's live shows were. In glorious and thumping detail plus some excellent Freddie costumes, we find ourselves singing and nodding our heads to the hits. The high point comes from its stunning recreation of Queen's infamous 1985 Live Aid set. Capturing the fever and infectious showmanship that Mercury brought to the stage, you see the crowning glory of an already stellar band. Freddie is at his most complete during this stretch, strutting and commanding the stage and the audience alike as if it's his last moments on earth. While the movie ends on a high note, you are still hungry for more.

Sasha Baron Cohen was the original choice to play Freddie Mercury. But his departure was a blessing in disguise because they couldn't have chosen better than Rami Malek. The movie's shining light, Malek is magnificent as the flamboyant and effortless showman Freddie. Effortlessly bringing to life his ability to steal the spotlight along with his multi-range voice, Malek hits all the right notes. Always the centre of a party and never wanting the good times to end, we see at times a man on the verge of falling over the edge. His arrogance often threats to drive the family apart, but he shows a big heart and soul to continually rally the troops. His performance comes alive during the Live Aid set and wonderfully he recreates the performance move for move and resurrects one of the truly great live performances. Ben Hardy provides great support and some terrific one-liners as Roger Taylor and Gwilym Lee is excellent as the more level-headed Brian May, complete with the appropriate fuzzy hair.

Bohemian Rhapsody is a biopic that is not always in tune and misses a great opportunity to showcase one of the biggest showstopping bands of our time. Rami Malek however, deserves awards contention for his stunning performance. We are still waiting for the hammer to fall!

Emergency Response: Review of The Guilty

The Guilty

Director: Gustav Moller

By Alex Watson

Confining a movie to a single setting can be a sink or swim affair. Danish director Gustav Moller manages to crank the tension up to stifling levels in his remarkable debut thriller The Guilty.  Impressively paced and making good use of the claustrophobic setting, few movies have made being at the end of a phone so nerve-wracking. Jakob Cedergren impresses with a bold yet complex central turn which gives the film layers as a result.

Asger Holm (Jakob Cedergren) is a Copenhagen cop forced to man the emergency service line whilst on administrative suspension. He simply hopes for a quick return to duty after his upcoming disciplinary hearing. That night, Asger receives a call from a distressed woman named Iben (Jessica Dinnage) who claims to have been kidnapped by her ex-husband Michael (Johan Olsen). Keen to play the hero and see this woman returned safely, he resorts to some frantic measures to get the job done.

The scenario of The Guilty isn't an entirely new one, but Moller is able to put a newer and more gripping take on this. Asger is a man who is already suspended under mysterious circumstances and when Iben calls he is able to gradually realise this is no mere call. Her ex-husband has a record of violence and quickly some harrowing facts begin to stack up about the scenario she is in. Stuck in his seat in a darkened room, Asger has to use all the tricks he can to stay ahead. Constantly bugging the North Zealand dispatch operator and his old boss Bo (Jacob Lohman), he is desperate to save this scared woman from an increasingly doomed fate. Partly you can sense he is keen for some good press following some clearly unprofessional prior behaviour.

The frequent close-up camera work by DP Jasper J. Spanning and the fine sound design of Oskar Skriver are the key elements that make Moller's picture tick. Through Spanning we can constantly see the gears of Asger's mind clicking as he attempts to solve the puzzle before him. The continuing silence is the tensest aspect of the film and as we hear the sound of the rain and traffic through the headset, it adds a little more realism. While Asger wishes to end everything peacefully, there's not a guarantee of a pleasant ending. While a brave individual who takes initiative, there is also a sense that his rogue streak may well end in his downfall. Continuously pressuring others to take matters into their own hands and get the job done, the reasons for his suspension soon become very clear.

As the minutes in The Guilty crawl by Moller swiftly turns the audience inside out as some disturbing revelations come forward in the final act. While it may seem implausible to some that Asger could go undetected by his superiors- especially when his shift ended, such quarrels are minor. Mirroring Steven Knight's thriller 'Locke' the suspense gradually builds and Moller makes his audience feel they are in the room along with Asger. Iben and Michael are a pair with a bitter history, but even the most steely-nerved person will be unprepared for the movies startling twist. Moller emerges a new Danish talent to reckoned with- few Hollywood thrillers provide this type of reality and we can expect him to be on the big stage soon.

Jakob Cedergren makes for a wonderful anti-hero in this picture and pulls off a hard-bitten role with bravado. Confined to a single room, the troubled expression on his face speaks loudly and Asger is trying to pull off an impossible task. Cedergren never strives to make this character heroic or likeable, he is just a guy attempting some kind of redemption. Is Asger really a good man or simply dodging a bullet? Through Cedergren there is a wonderful ambiguity to his actions that keep us wondering.

The Guilty is one of those thrillers which makes you sit up and appreciate good European cinema. There will surely be a remake of this film by Hollywood within the next five years- especially since it is a big contender for awards glory.

Freedom Writers: Review of The Kindergarten Teacher

The Kindergarten Teacher

Director: Sara Colangelo

By Alex Watson

There are few actresses that can make an indie darling sparkle like Maggie Gyllenhaal. In Sara Colangelo's Sundance award winner The Kindergarten Teacher, she is able to take a progressively disturbing yet identifiable character and make her engaging. Adapting the original 2014 Israeli film by Navad Lapid, Colangelo chronicles an uninspired 40-something teacher looking for an outlet in life and gives a firm commentary on the mentor-mentee boundaries.

Lisa Spinelli (Maggie Gyllenhaal) is a kindergarten teacher at a crossroads in life. Her husband Grant (Michael Chernus) is sweet but rather oblivious, her teenage children (Daisy Tahan and Sam Jules) barely need her. Attempting a poetry class in her spare time, her work is often greeted with lukewarm praise by teacher Simon (Gael Garcia Bernal). Out of nothing, Lisa finds five-year-old student Jimmy Roy (Parker Sevak) who shows great promise and is adept at waxing lyrical. However, her enthusiasm for him to show his full potential eventually spills over into obsession.

Perhaps the most intriguing part of The Kindergarten Teacher is how Colangelo presents Lisa to the audience. From the outset, the frustration at the banality and predictability of her world is apparent. Lisa simply going through the motions with little to inspire her. Her poetry often falls flat and it is obvious that she has more passion than natural talent. Her marriage is past its sell-by date and her two kids view her presence as an irritation. When she first meets Jimmy, his seemingly inane ramblings to himself are like a comet striking her world. From here, she attempts in more and more desperate ways to insert herself into his world. Colangelo begins to blur the lines and soon the relationship on screen become a source of debate for all concerned.

Lisa at first tries to convince his divorced father to encourage his poetic talents which he adamantly dismisses as he just wants his son to be a normal boy. Then she resorts to stealing his poetry and presenting it as her own which quickly turns her frosty professor's attention. What precisely is her motivation with Jimmy? Colangelo keeps this almost annoyingly ambiguous- is he a creative outlet? Or is something more sinister a play here? Her behaviour becomes increasingly less professional as she begins to contacting and seeking out the boy outside of school hours, waking him during naps times and exhibits a more possessive and unsettling attitude. Her life may lack substance, but there is something fascinating and absorbing about watching this descent into near delusion.

Predictably this character becomes more and more determined for the world to see a young man who doesn't wish to be seen. There is a last-ditch effort which makes us squirm uncontrollably in our chairs. Even so, Colangelo gives this an almost illuminating quality that makes it all the more watchable. Its conclusion itself is hard to define and we are sure precisely what is being hinted at, but it is clear that this young man has been through the wringer. Is Lisa a suitable wannabe mentor for this young man? Or is she simply an overly eager teacher whose crossed a serious line in both work and her personal life? Prepare for some hard questions as the credits roll.

Maggie Gyllenhaal shows just why she is one of Hollywood's most underrated leading ladies. It takes a special type of talent to make a borderline stalker seems engaging and likeable. Gyllenhaal is able to find a warmth and charm where some would struggle greatly. Young actor Parker Sevak also impresses as Jimmy and is able to add some increasingly nervous behaviour as the picture goes on.

The Kindergarten Teacher might be just outside of major awards contention, but its a reminder of how Maggie Gyllenhaal can anchor the smaller films.

We Are All Made of Stars: Review of A Star is Born

A Star is Born

Director: Bradley Cooper

By Alex Watson

Now on its fourth version- A Star is Born feels reborn under the first time direction of Bradley Cooper. One of the rawest yet heartwarming movies of 2018, Cooper and co-star Lady Gaga do much more than provide a great sound. Getting to the heart of two fragile yet painfully real characters, this remake firmly captures the heart and soul of its predecessors.

Jackson Maine (Bradley Cooper) is a country star who plays to sold-out stadiums, but off-stage he is a drunken wreck who is past his best. One night while out drinking he comes across singer Ally (Lady Gaga) performing in a drag bar. Immediately taken by her talents, the pair soon enters a romantic relationship and quickly her star rises while his begins to fade. Will the pair be able to salvage their love or will fame tear them apart?

Cooper immediately makes the flaws with his lead character obvious. Starting playing to a packed stadium, Jackson drunkenly stumbles on stage and attempts to act the part of a rock star. His addiction already has him in a tailspin and all around people are worried. One scene sees his brother Bobby (Sam Eliott) puts him to bed and warns Ally "You think he drinks a little too much? Sweetie, you have no idea!" Permanently hungover and hazy-eyed, Jackson is barely functioning. When he sees Ally perform a passionate rendition of 'La Vie En Rose' in a drag bar, you can feel the sparks fly. With her stuck on eyebrows, Ally is a woman who has been permanently rejected by the industry due to her looks. While immensely talented and sure of herself, she is unconvinced by Jackson's words of encouragement. However, when they first sing the song 'Shallow' together there is an electricity which would rival any live concert on earth. We can feel Ally's star begin to ascend and there is a crushing inevitability that Jackson will soon be consigned to the past.

Throughout A Star is Born there is a fear that Ally is not equipped neither physically or emotionally to deal with her lovers' descent into the bottom of the bottle. While her face graces billboards across LA and she appears on Saturday Night Live, Jackson is confined to the shadows. Dealing with continuous problems with tinnitus and still emotionally affected by the death of his mother and father, Jackson's pain is as plain as day. Ally's scheming manager (Ravi Gavron) doesn't help matters as he sees her as a hit factory and frequently undermines her husband. While it sounds bleak and depressing, there is a naturalistic feel to this romance and there are moments of levity which makes this all the more memorable. The picture undoubtedly comes alive during its live music scenes and Gaga feels at home during this stretch. Recapturing the vibrancy and show-stopping feel of one of her live shows, credit must go to DP Matthew Libatique here.

As this torrid romance plays out there is a sense that Jackson is a ticking time bomb. Unable to cope with his sudden loss of fame, life in Ally's shadow brings out the worst in this character. A particularly gruesome moment during the Grammy's award is the pinnacle of his downfall. Judy Garland and James Mason had it easy compared to this moment. As a director, Cooper is very much adept at capturing the feel of George Cukor's 1954 effort while also maintaining a subtle nod to Barbara Streisand's 1973 version. Ally might be the star that remains, but Jackson is the star our hearts go out to even though he may not have truly earned them.

Bradley Cooper rings in what could be a career-defining turn as Jackson. Barely recognisable underneath his long dusty hair and swollen face, Cooper brings a realism along with a very recognisable sense of trauma to this character. Lost in a whirlwind of drugs and booze, Jackson is still clinging to what he used to be and is unable to face what he has become. The big question in this movie was could Lady Gaga pull off being the leading lady? The answer is HELL YES! Completely comfortable bring a natural feel along with a raw yet believable emotional pain, Gaga is more than a match for her established co-star. Bring the heat as both singer and actor, this vehicle could pave the way for her to become the triple threat she deserves to be.

A Star is Born proves that sometimes remakes can go above what is expected of them. A surefire candidate for a clutch of Oscar nominations, you will not see a better duo onscreen than Gaga and Cooper.