Don’t Believe in Faith: Black Narcissus Review

Classic from the Vault

Black Narcissus (1947)

Directors: Michael Powell and Emeric Pressburger

By Alex Watson

The films of Powell and Pressburger are among the most important of British cinema. Their efforts such as A Matter of Life and Death, Peeping Tom and The Life and Death of Colonel Blimp were great examples of solid and technically brilliant filmmaking. Critics were initially lukewarm in the original reception of their films; some dismissed them entirely. But recently there has been a major revival of their work (helped largely by Martin Scorsese) and now they firmly take their places on British Film Institute’s Top 100 list. Powell and Pressburger’s filmmaking was never stronger than in their 1947 adaptation of Rumer Godden’s novel, Black Narcissus. This is one of the most beautifully shot pieces of cinema and remains my personal favourite film of all time!

Black Narcissus portrays the lives of five Anglican nuns who have been recruited by The Old General (Esmond Knight) to start a new school and hospital at the old Mopu palace situated at 9000 feet in the Himalayas.  The group is lead by the headstrong Sister Clodagh (Deborah Kerr) and initially their efforts are a success. But after the introduction of handsome British agent Mr Dean (David Farrar), the most troubled member Sister Ruth (Kathleen Byron) begins to descend into madness as she competes for Dean’s affections with Clodagh. Gradually the group of nuns begins to unravel, leading to a tragic conclusion.

Unlike previous films about religion, Powell & Pressburger’s film represents faith being called into question with Sister Ruth as the most prominent example. Her breakdown shocks as she wants to renounce her vows in favour of chasing a man. Mopu has an erotic past as it once was a palace for the General to keep his woman (which gave the name ‘the house of women’). Powell and Pressburger show Mopu as a strange, exotic setting which seems to distort reality. The altitude and constant wind are a catalyst for the nun’s eventual downfall. In Black Narcissus, the nuns’ strongly-held beliefs have vanished in the heights of the Himalayas.

The rivalry between Clodagh and Ruth for Dean’s affection is the central source of tension . Ruth’s affection for the agent is obvious from the outset. But her desire for him is conflicted by the pain of seeing him attracted to Sister Clodagh. Finally it becomes too much to bear and this result in her lust and desire taking over her.

Mr Dean is the key figure of male desire for the pair and he immediately provokes them to respond. During their first meeting, he flirts with Sister Clodagh and teases her for taking vows. Yet everything he does (including showing up drunk at Christmas Mass) draws Clodagh and Ruth to him. His presence alone escalates the nuns’ desires and one is ultimately willing to give up everything for him.

The Oscar-winning cinematography by Jack Cardiff and Alfred Junge is the most memorable feature of Black Narcissus. It is difficult to believe that all scenes were filmed on a Pinewood Studios sound stage and not on location in India. With its vivid selection of pastel colours, the set design gives the film an authentic visual impact and firmly expresses the desires and emotions of the nuns. This also contributes to the tense feel in the latter stages.

Kathleen Byron’s performance as Sister Ruth is one of the most under-rated in the history of cinema. With her eye-rolling jealousy, she firmly holds our attention, particularly in the movie’s third act where Ruth’s madness comes full circle! Deborah Kerr is equally impressive as Clodagh, a young nun in her first position of authority who is fiercely determined to succeed. David Farrar is suitably charming as Mr Dean, a man who oozes sexual prowess. In each scene that Farrar appears we feel his influence taking over in the palace and secretly worry about the effect it will have.

60 Years on, Black Narcissus is still a remarkable piece of film-making and its images are still breathtaking to look at. Powell and Pressburger’s work was strongest in their most celebrated film.  Their story is simple, but very effective. It will have you glued to the screen throughout as Ruth’s dislike for her sister superior intensifies by the minute.

I am proud to call this my favourite film and urge everyone out there to watch this immediately because you will never have an experience quite like this!

Fight for Survival: Review of The Hunger Games

The Hunger Games

Director: Gary Ross

By Alex Watson

There have been many adaptations of popular teenage novel in recent years. The Twilight Saga in particular has caused mass hysteria across the world with its young vampire lover’s story line. Cinema queues have been as far as the eye can see and it has made stars of its actors Robert Pattinson and Kristen Stewart.  But although these films have been ringing the box office bell, the critics have been frequently criticised the series for its poor plot and under developed characters. Quite simply, this story line can only appeal to a certain age group. Now we turn to director Gary Ross’ adaptation of Suzanne Collin’s big selling novel, The Hunger Games. Will this version keep its head above water or will be just another teen movie?

The story is set in the futuristic world of Panem, which used to be the former United States. The country has now been divided into 12 different districts and each year they select one male and female to compete in the annual Hunger Games- a competition where 24 young people fight to the death! When sixteen year old Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutchison) are selected from district 12, they will make a lasting impact on the games as they fight for their own survival!

The Hunger Games easily the best of the teen novel adaptations in years gone by, the smart concept is well executed and it will easily please fans of the books. Gary Ross sucks us into its unique world which is ruled with an iron fist by a wealthy capital city and its all powerful leader (Donald Sutherland). The districts are literally living off scraps that others throw for them and in return they must risk the lives of their children for the entertainment of the public! The lingering sense of dread is built up to high levels as the start of the games grows near, this is made all the more frightening by the fact that all but one of the children will die for a nothing cause!

The violence in the movie is both a terrifying and fascinating experience, for teenage movie we are not shown typical blood and gore, but every time a scream is heard our chest tighten in fear as Katniss ducks for cover in the thick forest.  Ross is relentless in his representation of violence, but not once does he cross the line into darker territory. His delivery of these scenes is well done and although shocking in places, it adds to The Hunger Games’ intelligent appeal. The most shocking element of the film is that we see a society that is completely desensitised to violence. Reality television has gone to the next level and behind the scenes we see the cruel bigwigs masterminding every unpleasant kink to make sure the ratings go through the roof and that brutality is celebrated!

As Katniss, Jennifer Lawrence is a perfect choice. Her performance in the under seen Winters Bone, showed that she could play the tough heroine, and in The Hunger Games this suits her character perfectly. Katniss isn’t in this game to win, she in this to fight for her life and because of this she has a level headedness to see things through!  Lawrence is a new star in the making and I look forward to seeing her in the future. Josh Hutchison is also good as Peeta, a boy who has a long standing crush on Katniss. When he publically professes his love the public go wild for the pair! Through the emotional longing in his eyes, we fear for Peeta’s safety and pray that Katniss will keep him safe! Woody Harrelson and Lenny Kravitz also give great support as the pairs respective mentors. They bring a human touch to proceedings and give the pair much needed emotional support. Harrelson’s character has seen the bloodshed world of the games and as a result is permanently disturbed and has turned to alcohol to ease his pain!

The world of The Hunger Games is one of the most original ideas in cinema in recent years. Through this it proves that not all teenage novels have to be cute and family friendly to audiences. But through it is a powerful message about the influence that reality television over people. It’s a terrifying thought that this could be the future of entertainment! Its sequel Catching Fire is due out later in the year; I lie in waiting to see the next series of events in the world of Panem!

The Wild One: Senna Review

Classic from the Vault

Senna (2011)

Director: Asif Kapadia

By Alex Watson

Ayrton Senna was a true legend of Grand Prix racing. From 1984 to mid-1994, Formula One fans were treated to some of the greatest driving ever witnessed on a race track. Senna’s talent was his ability to combine raw speed with pure driving skill. Through this he was able to elevate a car beyond its design limits and set the standards for other drivers. His name has become a legend over time and until last year there was no film to document his life and career. Step forward director Asif Kapadia, who has given us a worthy homage to a racing great in his 2011 documentary, Senna.

Senna follows the great Brazilian’s F1 career from its beginning at the 1984 Monaco Grand Prix, to his first world title with McLaren in 1988 and the dominance that followed it. It concludes with his tragic death at the 1994 San Marino Grand Prix, where a heavy crash ended his life. The documentary also focuses on his fierce rivalry with team-mate Alain Prost and his desire to beat him by any way possible. His off-track life is also well documented, including Senna’s devout Catholic faith and how it spurred him on to greatness as well as his efforts to make F1 a safer sport: a cause for which he would later die to prove that change was needed!

The greatest quality of Kapadia’s documentary is that it paints a very neutral portrayal of Ayrton Senna. His driving skill is celebrated unanimously by a variety of motorsport personalities. Through their perspectives, we see famous examples, such the 1991 Brazilian Grand Prix, where Senna drove a car to victory which had lost three gears and caused him great pain! But this skill made him as many enemies as friends. Senna’s recklessness caused some controversial moments in his career. For instance his decision to win the 1990 world title by crashing into main rival Prost at the first corner of the Japanese Grand Prix! The great man was a racer through and through and his view was always: “If you no longer go for a gap, you’re no longer a racing driver.”

Senna’s relentless battle with Prost is one of the main themes of Senna. It could be viewed as the pretender against the master – one critic described this film as ‘Amadeus on wheels’. This section of the story really spurs Kapadia’s film into life as he delves into the psychology of the two men and the lengths they were willing to go to in order to come out on top. This view is demonstrated when his Prost says in voice over: “He didn’t want to beat me… he wanted to humiliate me!”

Prost is the closest thing to a villain that Senna has. Although this somewhat unfairly as the man was never a controversial figure in F1 and got to the top by being technically excellent. But as both men were head-strong, what started as a friendly rivalry turned to all-out war by their second season! Prost’s close relationship with motor sport boss, FIA President Jean-Marie Ballestre, is closely scrutinised. The battle between Senna and Ballestre to make F1 safer is also a major talking point. The two were always constantly in a war of words and at times it looked like it would boil over.

Kapadia gives the audience a first-hand look at this conflict: one memorable scene shows Senna leading a driver revolt over his nemesis’s decision to replace tyres with traffic cones at corners before one race! By the end you feel like standing and applauding Senna for his brio!

The racing footage speaks loudest of all in Senna, as it gives the audience a brilliant demonstration of the man’s talents. Watching him fly around the track leaves you open-mouthed at the driving skill he brought to motorsport. It is to the credit of Kapadia that this film has been appealed to such a wide audience, and hasn’t just tried to sell itself to the motor sport-only crowd. Ayrton Senna as a subject is one worth of any audience, regardless of how many grands prix watched, and has been recognised by a BAFTA and film festival wins.

Senna was top of my list for 2011 and while some might think it slightly premature to include it on my ‘Classic from the Vault’ list, I firmly believe this film, like the legend it portrays, has already reached iconic status! If you don’t know who Ayrton Senna is or was, then start by viewing this top-class documentary because it is a fitting tribute to a true master of the track!

The Kid’s Are Alright: Review of 21 Jump Street

21 Jump Street

Directors: Phil Lord & Chris Miller

By Alex Watson

The original television series of 21 Jump Street, which starred a young Johnny Depp, was a massive hit in the USA from 1987 to 1991. The show followed the exploits of young police officer Tom Hanson who was seconded to a specialist police unit who focused on undercover work in high schools. The show was highly praised by critics for its smart approach to a variety of issues such as AIDS, hate crimes and drug use. It also made a teen idol of Johnny Depp and kick started his career. But in the UK, for many it remains unknown.  So now the new update hits our screens, but with some many high school films coming and going at the box office, how will this new version stand out from the crowd?

The modified story sees former high school class mates, Schmidt (Jonah Hill) and Jenko (Channing Tatum) who used to social opposites back in the old days. Schmidt was the class nerd, while Jenko was the popular jock. After making a major error when arresting their first suspect, the two are transferred to a re-established unit operating out of 21 Jump Street. Upon arriving they are told by their Captain (Ice Cube) that they will be going undercover in high school to infiltrate a drug ring. But upon their arrival back in their old world, they find school has become a different place from before!

21 Jump Street is one of the most original and funny high school films to come out in recent years. What makes it stand out is a zany quality it has surrounding it. Jonah Hill and Michael Bacall who co-wrote the script provide a variety of laughs, in particular a hilarious sequence when Schmidt and Jenko are forced to take drugs to prove ‘they’re real’ as they go through the different stages we see them undertake a variety of cringing moments.

The real quality of this film is that it stays away from the usual cliques of high school films, in this one the popular kids are smart ones (Dave Franco and Brie Larson) who are concerned about their future and see caring about the environment as a cool thing. The science geeks are as usual under-appreciated but they are by no means the target of bullying. Before we have seen the standard view of high school were jocks and cheerleader reign supreme, it is to Hill and Bacall’s credit that they take this story in a new direction.

In some places however, the film does come slightly off the rails. Although the laughs are there by the bucket load, the story as a result beings to drift as a result. Directors Phil Lord and Chris Miller at points seem confused about where they are taking the action. But it is in these moments of un-certainty that the film finds some of its biggest laughs, it is credit to the handling by Lord and Miller for pulling the film together when most needed!

Jonah Hill is on safe ground in 21 Jump Street as Schmidt- as a former nerd in his old life, we see the relish on Hill’s face as he is given a second chance at becoming popular. But when he takes it with both hands, it threatens to derail the whole operation! In films such as Superbad and Knocked Up, we have seen his ability to drive the comic moments of a film and in this he doesn’t disappoint. But out of the two leads, Channing Tatum stands out, he gives the movie its heart as the dumb jock who beings to realize that he is better than the facade he has been putting on. Tatum has been promising a lot since his early screen appearances, but in 21 Jump Street he proves to be a skilled comedian and this role he charms us on screen. It will be interesting to see how his career develops from here. There is also a hilarious, scene stealing role from rapper Ice Cube as the cynical and foul mouthed Captain. From the moment he comes on screen, the audience will be howling with laughter as he addresses the newbies with,

“You are here because you some Justin Beaver, Miley Cirus lookin’ muthas.”

At long last we have a high school film that doesn’t follow the same lines as its predecessors. We are given a world where knowledge is power and being different isn’t a crime. Tatum and Hill make a great, albeit unlikely comic pairing and I am counting the days until the new sequel is released! For one of the most off the wall and side splitting comedies of the year- get yourself down to your local multiplex now!

Love and the Russian Winter: Review of Dr Zhivago

Classic from the Vault

Doctor Zhivago (1965)

Director: David Lean

By Alex Watson

David Lean’s films brought us some genuine epics in the history of cinema. His film such as Bridge on the River Kwai, Lawrence of Arabia and Brief Encounter, has inspired a generation of notable film makers such as George Lucas, Steven Spielberg and Martin Scorsese. Lean was a great visionary director, and the images from his movies were always memorable, such as Sherif Ali emerging through hazing in the desert in Lawrence of Arabia and the dramatic closing drama of Bridge on the River Kwai. But his images were equally as striking in his adaptation of Boris Pasternak’s novel, Doctor Zhivago. This piece not only gave a bird’s eye view of the effects of the Russian Revolution, but also gave audiences one of the great cinematic romances of all time.

The story is told in flashback by Lt. General Levgraf Zhivago (Alec Guinness), who has found a girl working on his dam project that he believes to be the daughter of his brother Yuri Zhivago (Omar Sharif). To her, Levgraf recounts his brothers early days from being orphaned as a boy, to being become a doctor and a rising poet in Moscow, Russia. Zhivago is then conscripted into military service and there he witnesses the chaos and brutality of the Russian Revolution! But during this, he meets the love of his life, Lara (Julie Christie) and very soon Zhivago’s world is gradually turned inside out!

Doctor Zhivago was massively popular upon its release, which of great relief to its distributor Metro Goldwyn Meyer who had been in dire need of a hit in recent years! But the critics however, were less kind to it, and some dismissed it as ‘a picture postcard view of the Revolution’. But Lean’s film is an epic tale in every sense of the word, and since its release it still beautifully shot and the story of love and war is still as relevant to cinema as it did before.

Lean in his usual style, takes time to tell his love story, giving a large back story to the origins of Zhivago. Some might see this as unnecessary, but Lean’s narrative style of film making makes this essential to the story. Through this we witness Lara and Zhivago take their different paths in life. Zhivago gets married and starts a family, while Lara gets involved with cruel investor Komarovsky (Rod Steiger). But it is a chance meeting a party when that Zhivago first gets a glimpse of her. It is from there that we feel Lara’s early influence on him. But it isn’t until mid-way through, when their paths cross during the war that we finally see the relevance of the long journey.

The political side of Doctor Zhivago is left mainly as a supporting theme of the story. But through the brutality of war we see Russia falling apart at the seams. Men go charging into no man’s land and to their imminent deaths! An early scene in the film sees the Czar’s men viciously assaulting students peacefully protesting! After this tragic event, we see the rise of idealistic Pasha Antipov (Tom Courteney) who goes on to become notorious war criminal Strelnikov! A man who burns any town that stands in the Red Army’s way. Lean’s message here is a powerful statement about the effects war can have on an individual. This is exemplified in a tense confrontation between Zhivago and Strelnikov, when the Commander tells him ‘The personal life is dead in Russia, history has killed it!’

Omar Sharif and Julie Christie make a heart warming  pairing in Doctor Zhivago. Sharif’s affecting eyes say a million words when he first sees Lara. Although he is steadfast initially to his family, we know Lara will forever win his heart. Julie Christie is an enchanting presence on screen, a great beauty of her time she encapsulates Lara’s yearning to break free of her troubled life. Rod Steiger makes a compelling villain, as Komarovsky he plays a man who sees life cheaply and simply casts someone aside when he done with them! Tom Courteney is outstanding as Pasha; his rise from young protestor to all powerful war leader gives the movie its political voice.

David Lean is one director whose films have stood the test of time, epics have never been on a grander scale as Doctor Zhivago and a story has never broken so many hearts. While some might look down upon this piece and see it as overly long, others will be encapsulated in the lavish cinematography and Lean’s representation of everlasting love. I recommend this piece highly and guarantee it will truly make your heart glow.  Start your Lean experience right here, because this style of film making is the true soul of Hollywood cinema.

Friendly Fire: This Means War Review

This Means War

Director: MCG

By Alex Watson

Romantic comedies are a film type that keeps rolling off the Hollywood conveyor belt. Every year there is a least one a month on our screens. Some of us delight in the reliable, albeit similar story lines and the warm glow it brings to our hearts, others however, simply roll their eyes with contempt as they are yet again dragged to the movies. The main argument is that are these films really worth sitting through again and again? But more importantly, how does a film-maker keep on top of the laughs to ensure the critics and audiences rave? This week we look at director MCG’s new comedy, This Means War.

The main story focuses on two top CIA agents and best friends, FDR (Chris Pine) and Tuck (Tom Hardy) who have both been demoted after a mission to capture terrorist Heinrich (Til Schweiger) went drastically wrong. Very soon the two men both meet and fall in love with un-happy singleton Lauren (Reese Witherspoon). Gradually their once solid brotherhood turns into all out rivalry as both men strive to win the ladies heart.

This Mean War covers all the basic features of a typical romantic comedy, but refreshingly, it goes above them and delivers a very slick and assured film which gives plenty of laughs. The centre story has been covered in many films, where two hot guys go for the same girl. But in This Means War we have best friends who are senior government agents, and they are willing to abuse resources and manpower to get the girl they love! The moments when they spy on Lauren talking to her best friend about their best and worse features, is truly hilarious! This feature gives the movie its greatest strength as we have not one but two male protagonists we are cheering for and like Lauren; we simply cannot choose who she should go for?

The competition between the two men is another excellent feature of this film. Tuck and FDR are men of extreme resources and it seems in this there is no level they won’t sink to. All through the film we are continually guessing what each man will do to ruin the other’s date. We have Hardy tranquilising Pine right before he is about to literally score big time with Lauren!  And Pine responds by turning on the sprinklers in Hardy’s flat when he going for the kiss. These moments, break the mould of a typical romantic film and the laughs come thick and fast.

Director MCG has been the subject of numerous slating campaigns in Hollywood over the years. His version of Charlie’s Angels was mauled by critics, but since directing Terminator Salvation, his star has steadily been increasing. This Means War is another big step in the right direction. Although the story line is light in places, his handling of the action and romance is well timed and precisely executed. Because of this picture gleams and gives the story a suave edge to it. He may have made mistakes in the past, but there is proof that this man can redeem himself.

The real charm of the film comes down to the success of its lead trio. For Tom Hardy, this is a departure for his usual roles. In films such as Bronson, we saw an engaging (though slightly frightening) presence. But in This Means War, we see that his soft side is just as effective and as Tuck, he is a revelation. Chris Pine showed us his leading man credentials as Kirk in Star Trek once again he gives another solid showing. Pine gives us a care-free playboy who is yearning for more in life and has finally found it. Reese Witherspoon is on familiar ground with this role; after all her name was made on films such as Sweet Home Alabama and Legally Blonde. But her performance doesn’t lapse as a result. As Lauren she is sweet and very believable, but more crucially she appeals to the audience and doesn’t become an enemy in the midst of dating two good looking guys.

This Means War so far is a leading candidate for one of the years more original comedy films, the chemistry between the three leads make the picture seem so effortless and will have you leaving the cinema with a wide grin on your face. Though it will pose question about how Tuck and FDR’s CIA careers didn’t suffer in the face of the events portrayed! MCG please give us more pictures like this, maybe then we will forget Charlie’s Angels ever existed.

Suspense is a Killer: Review of The Wages of Fear

Classic from the Vault

The Wages of Fear (1953)

Director: Henri Georges Clouzot

By Alex Watson

European cinema is owed a lot more credit from the mainstream. So often their films are bench mark for either re-makes or inspirational styles of film making. But so often when the story is switched across for a new audience, the magic that was there is somehow lost in translation! Hollywood has several times to avoid this by hiring the original director to oversee its new vision. For instance Dutch director George Sluzier, who butchered the US adaptation of his classic thriller The Vanishing. More than anything though, European cinema has always been able to create a film where the suspense keeps us on edge! Never has there been a more heart stopping thriller than Henri Georges Clouzot’s French masterpiece The Wages of Fear.

The story is set in an un-named South American country where four European men Mario (Yves Montand), Jo (Charles Vanel), Bimba (Peter Van Eyck) and Luigi (Folco Lulli) are stranded in a small, back water town. American oil company, Standard Oil provides the main source of employment for the town, but the men are all unable to get work and they cannot get out! Hope comes when a dangerous job arises. The men are offered $2000 to drive two large trucks of Nitro-glycerine 300 miles to a fire at an oil field. Due to the poor road conditions and equipment and the un-predictable nature of Nitro-glycerine, this job is considered too dangerous for union trucker drivers!  The men willingly take the job, but along the way they begin to realize that the rickety roads will give a dangerous trip ahead!

The focal point of the movie is the scenes when the men are behind the wheel, every kink in the road and each steep curve have the audience squirming throughout! Because we know that they are essentially driving a bomb which could explode at any second! Clouzot and cinematographer Armand Thirard build the suspense up to claustrophobic levels, keeping the action mainly within in the tight cockpits. The set pieces in The Wages of Fear rank among the greatest of Cinema. One chest tightening moment particularly stands out when Montand and Vanel have to back up against an unstable wood platform to get around a hair pin bend. As the heavy truck goes back the rotten wood begins to break and very soon the truck is hanging on the edge of a cliff! Make to have a spare heart ready because your old one will explode from the tension!

Clouzot takes his time in setting up the action at the beginning of The Wages of Fear, setting the first half mainly within the town and documenting the daily struggles of the four men. Through this we form an attachment to them and we know they are desperate people making the most of a bad situation. The Wages of Fear is also Clouzot own statement on capitalism and greed, and asks the question of what price we put on our lives! Standard Oil is the villain of the piece because they are willing to pay careless men to drive to their deaths! This is demonstrated when the American boss says to them that because they are because they are not union, they were won’t be any question if anything goes wrong!

Yves Montand provides an engaging presence in The Wages of Fear, his character Mario is the one we are most drawn to. He is very handsome, very cunning but also has an arrogance to him that will lead him down some difficult paths. A true icon of French cinema, this was Montand’s first dramatic role and set the standard for his later career! Charles Vanel is equally impressive as ageing gangster Jo, at first Vanel charms them with his promise of money and power, but as the story progresses we realize that the man might not be as brave as he claims!

This movie was later re-made in 1978 by The Exorcist director, William Friedkin as a film called Sorcerer, although its set pieces were impressive, the film lack the heart of the original and was poorly received. This was yet another example of a film failing to make the move across! The Wages of Fear is a true classic of European cinema and one of the most suspenseful films ever made. Clouzot after this made his equally classic Les Diaboliques, so for a good place to beginning your European experience, start here. Check where your sit, because it’s possible you might fall off!

Breaking Down The Walls: Safehouse Review

Safe House

Director: Daniel Espinosa

By Alex Watson

Rogue CIA agent thrillers are a regular feature on our screens all through the year. The results often vary in quality, in recent times we have seen great examples of these such as The Bourne Series, Syriana and The Hunt for Red October. But with some many different ones available, how does anyone keep this idea fresh and new? This week we analyse Denzel Washington’s new offering Safe House. His last offering The Book of Eli was well received by both critics and fans alike, but in recent times his career has been a hit and miss affair. Will his new film restore his golden reputation?

Set in Cape Town, South Africa, Safe House sees rookie CIA agent Matt Weston (Ryan Reynolds) stuck playing house keeper at a secret safe house. He yearns for more experience in the field and feels wasted in his current role. However, things take a dramatic turn when notorious rogue agent, Tobin Frost (Denzel Washington) turns himself into the U.S Consulate to escape assassins that are pursuing him. Frost is taken to the safe house for interrogation, but whilst there the killers strike again and wipe almost the entire CIA team out with only Frost and Weston still alive. Weston promises his superiors he will bring Frost in, but very soon he begins to doubt his choice.

Safe House is certainly on familiar ground with this story and it works all the usual cliques as best it can. The whole story of the bad agent, who might have a good heart, has been done before and doesn’t really exceed itself.   In the last act the twists come thick and fast. The only problem is that we can spot them a mile away and it feels a lot like a game of join the dots! This isn’t to say that this film is at all bad, but it just doesn’t raise its game when it has the potential to. Director Daniel Espinosa (in his English Language debut), has good command over the action scenes and it is here where the story fires. A car chase early in the film will have people on the edge of their seats as Weston tries in vain to avoid machine gun wielding assassins!

The main pairing of Frost and Weston is the real heart of the movie, like all odd couples they have their petty squabbles to begin with but when they bond it feels as if they could have been partners in the field. From the very beginning we feel the frustration of Weston as he is stuck in a meaningless role built on the promise of what could be! Frost however, has been everything he aspires to be. But as the movie progresses Weston throws his CIA book out the window as he learns that the superiors he looks up to are maybe no different than the criminals they pursue!

Denzel Washington and Ryan Reynolds are very watchable in this film. Washington in particular gives the movie a raise in quality with his performance as Frost. He is very aloof and calculating and we genuinely wonder where his loyalty will lie in the end? Reynolds does well as the naive new boy, his innocent eyes develop a steely gaze in the midst of Frost’s mind games, and all through we can feel him gradually changing sides! But in the supporting department, Brendan Gleeson and the excellent Vera Farmiga are wasted in their usual office desk CIA roles. The two have been proven quality in their most recent films. But in Safe House, Espinosa relegates them to the sides when their involvement should have been much more!

While it might not stand the test of time, Safe House will offer viewers a typical solid night of entertainment.  Washington is very capable actor and we have seen that in his film such Training Day, Malcolm X and The Hurricane. I hope that soon he brings us something that reminds of the engaging presence that he is able to bring to our screens!