Memory Loss: Review of Trance

Trance

Director: Danny Boyle

By Alex Watson

 

Danny Boyle has made himself a household name since his stunning debut in 1994 with Shallow Grave and has continued to prove that he is by far one of the most established directors that Britain has ever produced. After his Oscar victory dance with Slumdog Millionaire and his visually stunning opening ceremony for the 2012 London Olympics this fact is now cemented. This week he brings us his long anticipated follow up, Trance, which after an impressive set of trailers look set to make our minds bend again, but will the results be as expected?

After Simon Newton (James McAvoy) is betrayed by his partner Frank (Vincent Cassell) during a heist for Goya’s painting ‘Witches in the Sky’ he is hit over the head and left for dead. When he comes around he suffers from amnesia and is unable to remember where he has hidden the painting and things start to look bleak. To give his mind a kick start, Frank enlists the help of therapist Elizabeth (Rosario Dawson) to unlock the hiding place. But soon all three will find themselves dragged into a dangerous set of memories which threat to unravel events!

Trance is a very slick and well executed thriller by Boyle and benefits from a storyline which is continually changing and this adds a spice to the mystery and makes wonder what else Simon is hiding underneath his pleasant manner. We start with an impressive opening sequence where Simon narrates a typical auction and the extreme precautions undertaken to ensure the safety of priceless items. When the robbery takes place, we assume that a major item has fallen into the wrong hands- but when only an empty frame is produced we are left dumbfounded.

From there the story diverts from being a straight forward heist/revenge tale and takes another turn into more psychological territory. From the moment Elizabeth is introduced suspicions are raised and as she turns into a reluctant helper, her motives are never clear as to what she would like to gain from this situation. Our perception of Simon is also a complete 360 degree turn as we learn of his back story, things are not given to us on a plate however, and as we delve into different fantasy scenarios, another whopper of a puzzle piece is given to us and the results in places are stunning.

But although it is a well done crime thriller by Boyle, it lacks a certain something that makes it unforgettable and Trance suffers from a rather clunky final act where the psychological edge begins to get in the way of the action and has perhaps too many twist and turns for its own good. Also the choice of ending will divide many audience members as although it is unexpected and for certain will leave us mulling things over as we go to the exit- many may disagree if it was best to leave events so open.

James McAvoy gives another solid turn and under the direction of Danny Boyle he stands out on screen and continues to show that his BAFTA Rising Star award back in 2006 was well earned. But he goes against playing the typical hero and at times his smarminess makes him almost a viilain! Vincent Cassel makes for great muscle and is giving a meaty villain role to sink his teeth into, thankfully he doesn’t descend into the usual Hollywood henchman he so often had to play and gives Frank a likeable quality which makes him far more appealing than expected.

Rosario Dawson gives the most complex performance by far, she has proven herself a capable actress in years gone by in films such as Sin City, Clerks II and Unstoppable by here the icy chill she gives on screen gives another hint to watch else she is able to bring to a film.

Trance may not be the masterpiece that we were expecting, but it does still demonstrate what a great director Danny Boyle is, although his career his choices have always been carefully planned and he loves a good story to take a film on its journey and here he certainly has that! Just remember to pick your friends carefully when you pull off a heist, you never know who you can trust!

Off To See The Wizard: Review of Oz: The Great and Powerful

Oz: The Great and Powerful

Director: Sam Raimi

By Alex Watson

 

Victor Fleming’s The Wizard of Oz is among many people’s favourite films and even today in the wake of its slightly aged effects, the magic has still yet to die. But everyone asks how did the aforementioned wizard come to be? This year Sam Raimi will provide us with all the answers we need as we return to the Land of Oz and we learn just how the man behind the curtain ended up crossing paths with three witches in Oz: The Great and Powerful. Just don’t expect Dorothy to appear in this version.

In 1905, Oscar Diggs (James Franco) is arrogant but struggling circus magician who while escaping a potential beating from a circus strongman, is transported to the Land of Oz. Upon his arrival he comes across witches Theodora (Mila Kunis) and her sister Evanora (Rachel Weisz) who believe him to be a wizard whose return to save them was predicted by their father. To prove him worthy the sisters send him on a dangerous quest to kill a wicked witch. But along the way he will meet Glinda the Good (Michelle Williams) and her band of lovable folks and he will learn how to become a true wizard to save the realm!

Oz: The Great and Powerful is a film which thankfully doesn’t try to match its predecessor and instead Raimi gives us another view of the Emerald city which has a darker touch to it. The beginning sequence has a nod to Fleming’s original as it is shot in black and white and as we enter Oz, the colour flourishes on screen and the moment where Diggs discovers this strange land provides some lush imagery on screen. There is also a technical impressive finale as Oz uses his special effect knowledge to good use to attempt to reclaim emerald city from the witches. There are also other subtle nods to the past such as a cowardly lion, scarecrows and of course the infamous flying monkeys.

But what of the man himself- as we first meet Oscar Diggs he isn’t easy to warm because he is very self centred and a self confessed con man. When he first arrives in Oz, his nickname just happens to share the same name as the land he has stumbled into and his eyes go as wide as flying saucers as he see the riches that come with being a wizard! At this moment he happily plays along and pretends to be their saviour- but the moment he learns of the dangers involved he almost legs it immediately! But his transition from being a callous imposter to finally using his trickery to become ‘The Wizard of Oz’ is one of the films smoother aspects and a winning character is born as a result.

The witches’ story in Oz: The Great and Powerful is one that doesn’t quite grab at us like it should and although the origins of the Wicked Witch of the West are there for all to see, it lacks the bite that would expect to come with it. Because of this we are left without a truly memorable villain for the people of Oz to square off against, hopefully this minor issue will be resolved in any potential sequels that may follow.

James Franco’s easy charm helps push Oz: The Great and Powerful along and he is able to turn around what is a potentially loathsome fraudster to being a character who becomes a true leader and genuinely wins the trust he’s conned people into having. Franco ascent in the acting world continues to interest and he is fast becoming a reliable star actor.

As the witches, only Mila Kunis scores highly with her delightful portrayal of wickedness and the transition of Theodora from being a pretty lady to something a hell of a lot scarier is a moment that will stick firmly in our minds.  Rachel Weisz looks the part of evil green gowned Evanora but she lacks the frosty chill that comes with this kind of role and surprisingly for her she falls rather flat and lets down what could have been a marvellous villainess. Michelle Williams glows on screen as white witch Glinda the Good, but although she is lovely she doesn’t quite have the sparkle to stand out on screen.

Although it hasn’t quite turned out to be the memorable film we hoped it would, Oz: The Great and Powerful is still an enjoyable couple of hours and will no doubt satisfy many Oz fanatics. It is great to see Raimi back again on screen as we are reminded what a technical master he can be and even more thankfully- there was no web slinger in sight!

Shadow Dancer: Review of Dancer in the Dark

Classic from the Vault

Dancer in the Dark (2000)

Director: Lars von Trier

By Alex Watson

 

Danish filmmaker Lars von Trier is a man who truly divides people and his movies are never easy going affairs. A pioneer of the Dogme 95 style, his efforts are always mesmerising to watch, though for not always the right reasons. But he has a knack for making films work out of very little; take for instance his stunning effort Dogville, using just a sound stage and minimal props or his harrowing take on a woman’s devotion to her husband in Breaking the Waves. But none of his films have quite so emotionally hard hitting than his 2000 Palme D’Or winning effort, Dancer in the Dark, which showed us the lengths one mother will go to help her son’s life.

Czech Immigrant Selma (Bjork) works at two different jobs in order to stay afloat and provide for her son Gene and although life is hard, she is always constantly smiling with her best friend Kathy (Catherine Deneuve) and when she feels lonely or sad, Selma slips into her fantasy world where life is like the musicals she adores. But behind her happy face, Selma hides a big secret that she is slowly going blind and her hard work is to pay for an operation to save her son from the same fate! But when her seemingly pleasant Landlord Bill (David Morse) attempts to take her money- there are tragic consequences!

Dancer in the Dark is one of the most haunting yet extremely poignant movies you will ever experience, but it is one that leaves us with a heavy heart throughout. Selma’ story is one that is incredibly heart-warming in places but the feeling of devastation is never far away! The dark is constantly closing in as her sight worsens and she enjoys life while she can- particularly as she goes to the movies with Kathy who describes the various lavish musicals on display (much to the annoyance of the other viewers) . But as a character she is one of great power and as she fights to save her son- she will commit an act which is the ultimate sacrifice!

The scenes where Selma slips into her fantasy world provide the film with its moments of light and there are some impressive numbers such as hearing Bjork sing along to the crashes and bangs of factory machines. The songs on display go completely against the modern musical and leave it feeling like a radical alternative. But these moments of song summed up the feelings that Selma cannot express through words, particularly the sad ballard “I’ve Seen it All” where she laments her normal life coming to a close and wonders what there is left to see?

But it’s the final act of Dancer in the Dark which hits us hardest most of all as we Selma running out of time trying to save her son while behind bars. Her selflessness in this part is one that will make eyes water as she is willing to set aside her own life, it’s a decision that baffles Cathy but Selma never once shifts from her path. As she sings her last heart breaking song, it makes way for possibly the coldest finale ever. But as you watch just remember that with Lars von Trier- a happy ending is never assured!

Bjork is absolutely stunning as Selma and through her extraordinary voice it sends us on an emotional rollercoaster all throughout! This performance will surprise many and the Icelandic singer holds the screen with such force and wont the Best Actress award at Cannes for her efforts. But her performance wasn’t without its sacrifices and during production she was pushed to near breakdown by von Trier which tragically has meant she hasn’t had a role in a mainstream film since! We can only lament loosing such a promising star!

Catherine Deneuve is equally strong and provides the films emotional backbone as long suffering friend Cathy. Veteran actor David Morse also provides great support as desperate landlord Bill who to save his house commits an act so heinous, it completely shatters our positive image of him!

Lars von Trier may not be to everyone’s liking, but one thing is always assured- his films get us talking and in some ways we feel that this man is always one step in front of us, despite occasionally slipping up in interviews! Dancer in the Dark is a reminder of what a great artistic director he can be and this is quite possibly the biggest ride your heart will ever take. Also it is guarantee to have you slipping into musical day dreams for quite some time!

 

An American Abroad: Review of Midnight Express

Classic from the Vault

Midnight Express (1978)

Director: Alan Parker

By Alex Watson

Prison movies as a general rule are never pretty viewing but then again they are never meant to be. Even classic’s such as The Shawshank Redemption showed the grim realities of life on the inside as well as the problems that occur for prisoners when released, where as movies such as A Prophet, Papillion and American History X focus on the horrific violence and corruption that nests within the walls. But few have been as claustrophobic as Alan Parker’s, Midnight Express which told the true story of Billy Hayes’ prison sentence in Turkey and brought some of the most memorable and uncomfortable images of years gone by.

American Billy Hayes (Brad Davis) is attempting to smuggle several bars of hashish out of Istanbul, Turkey when he is caught by the authorities at the airport and is thrown into Sağmalcılar prison. Sentenced to life imprisonment he bonds with fellow western inmates Jimmy (Randy Quaid) and Max (John Hurt) but his sentence soon becomes a living hell with violence and torture a regular feature. Billy soon realizes his only hope is to catch the ‘Midnight Express’ (prison code for escape).

Midnight Express is truly a classic of the prison film genre but it doesn’t make for easy watching and will require a strong stomach throughout. The film caused outrage in Turkey upon release and severely affected tourism for some years after its graphic depiction of the ill treatment given to Hayes and co by sadistic guard Hamidou (Paul Smith). But Parker doesn’t strive to make the population an enemy and rather than going for typical racist stereotypes he instead gives a realistic depiction of prison life and the hardship faced.

Oliver Stone’s Oscar winning script contributes to the engaging and tense story line and Billy’s journey is one hell of a ride as he sees the problems faced by Westerners in 1970’s Turkey as his faith in the legal system turns on his head midway through when his early release is cruelly denied! After his hopes are tarnished he turns to trying to escape and this where the real tension creeps in and as his optimism crumbles, so does Billy mental state. But it provides an uplifting yet heart stopping finale and aided by Giorgio Moroder’s pulsating electronic score it ends the film of a high note.

The images in Midnight Express are at times hard to swallow such as a gruesome scene where Billy in a moment of madness bites out the tongue of a fellow inmate, but it’s the moments that go un-seen which are by far the worst to imagine as we hear Max’s cat killed off screen and see Billy about to be raped by Hamidou at the films early stage. But as difficult as they are, these images ensure the film stays in our minds long after the finale credits have rolled.

The late Brad Davis (who died of AIDS in 1991) gives a heartbreaking and real performance as Billy and through the film we are drawn to his struggle and have the upmost sympathy for his plight. Davis’ career never quite matched the heights of this performance and it is tragic that he was so little seen after his terrific performance here. Randy Quaid also does well as cocky American inmate Jimmy whose repeated escape attempts make him a target for the guard. But its John Hurt who proves the memorable as heroin addicted prisoner Max, a man who has a spent perhaps too long behind bars and whose mind seems to be deteriorating and through Hurt’s quiet brilliance, he more than matches Davis.

Alan Parker is one of the under-rated director’s of years gone by and was deservedly awarded the BAFTA Fellowship at this year’s ceremony. Midnight Express is a prime example of the movies he has been capable of making and his able to bring suspense on screen that is rarely matched. For a movie that will truly stick your mind for a variety of reason then this is recommend. Also it will teach you a valuable lesson on avoiding prison abroad!

Thrill of the Chase: Review of Welcome to the Punch

Welcome to the Punch

Director: Eren Creevy

By Alex Watson

British cop thrillers are a rare breed these days and when presented to us they tend to reek of Hollywood influence and although there have been some great attempts such as Edgar Wright’s hilarious buddy cop parody Hot Fuzz, the real quality has been on television with shows such as Luther leading the way. So will director Eren Creevy be able to break the mould with his new movie Welcome to the Punch or will this be another effort to confine to history as yet another failed attempt?

After a three year absence, veteran bank robber Frank Sternwood (Mark Strong) returns to London after his son Ruwan is shot in mysterious circumstances. Police Detective Max Lewinsky (James McAvoy) was previously thwarted by Sternwood in his last attempt to capture him and ever since his reputation has taken a severe knock.  He sees the man’s return as the perfect way to resolve past events and finally be at peace with himself. But along the way matters are soon complicated and the two men must make some tough choices!

Welcome to the Punch is a nice change from the usual run of the mill British thrillers that we have become accustom to over the years and it is to Creevy’s credit for not over blowing the action and staying loyal to the London setting which gives a very gritty British feel to it. It is also aided by excellent set pieces such as an opening chase as the baddies on bikes skilfully eluded Lewinsky though with life changing consequences. Surprisingly the London shown has never looked so shiny and new and through the luminous aqua cinematography it gives an almost Hong Kong type feel.

The centre story is one that is very plot driven and has enough to keep us interested throughout, in some ways both Lewinsky and Sternwood are looking for their own type of redemption. Lewinsky is a man who has been tore apart by his failures and as a result lives by his own moral code- his mission to capture Sternwood is one that goes beyond obsessive and despite warnings from his partner Sarah (Andrea Riseborough) he remains convinced that if he brings this one man down, everything will fall into place. Whereas Sternwood is a man simply looking to avenge his son’s shooting and will find them by any manner of dubious means.

But although everything is breathless executed and beautifully presented, one thing Welcome to the Punch suffers from is a pace that is perhaps too fast for the film to keep up with and because it really stops to calm itself, we never truly get a chance to know our characters thoroughly. Because of this frantic plot driving, certain key elements get lost such as the nature of the relationship between Sarah and Max and Sternwood’s back-story with his counter parts are never truly explained and for this we have to guess as we go along. It is unfortunate that Creevy allows this lapse because this has the potential to be one of the cooler thrillers of the year.

Playing against his usual roles, James McAvoy does well as conflicted cop Max Lewinsky and through his boyish features we see a man jaded by the past and is yearning to set the record straight. Mark Strong is similarly excellent and makes good use of his tough presence as Sternwood. Andrea Riseborough is underused as Sarah and you feel her presence could have helped benefited Max storyline as she hints at undisclosed past. There are also excellent supporting turns from veteran Brit actors Peter Mullan, David Morrissey and Johnny Harris as a hard eyed assassin.

Even though it does the result doesn’t quite meet the expectations, Welcome to the Punch is one of the coolest Brit flicks of the year and for once doesn’t have any American influence behind it and this gives hope to the potential of future Cops and Robbers movies from the UK. Be prepare to see an un-recognisable London though!

The Man with the Love-Hate Tattoo: Review of The Night of the Hunter

Classic from the Vault

The Night of the Hunter (1955)

Director: Charles Laughton

By Alex Watson

The Film noir category was a glorious time of film making and continually brought us films that simply shone with class. Its principle strength was making stories that made great use of the Classical Hollywood narrative, but on occasion some films went against this strategy and as a result some compelling thrillers were born- one such example was British actor, Charles Laughton’s film The Night of the Hunter, which gave a story of man who will stop at nothing to get his hands on the ultimate prize!

It depicts the story of a man called Harry Powell (Robert Mitchum), a preacher who has spend his time murdering across Americas mid west. When in jail he learns from his cell mate Ben Harper (Peter Graves), who is imprisoned for killing two policemen during a bank robbery, that there is a considerable sum of money hidden somewhere in his home, upon learning this Powell travels to the man’s home town and quickly wins over Harpers family including the widow Willa (Shelley Winters), well all except his young son John (Billy Chaplin) who has been entrusted with the secret, and sets out on claiming the money. As his influence grows, the Harper child soon become involved in a deadly game of cat and mouse to survive

Charles Laughton’s The Night of the Hunter is fits firmly into the film noir category and was at first ignored by critics on its first release but now days it is rightly regarded as a classic and its wonderful expressionist style has influenced many directors such as David Lynch, Martin Scorsese and Terence Malick. It is a shame that the failure of this movie disheartened Laughton and as a result- it would remain his sole directorial effort.

The interesting point of the plot is the simplicity of it; we are presented with a story of a father who has a robbed a bank and stashed the money, leaving only his son with the secret. Then along comes the false prophet who knows of the money but not it’s hiding place, in the early stages John’s attempts to keep it secret are very chest tightening and with Powell skulking in the background they are never safe. So when the children finally escape his dangerous clutches, the chase begins and so do the thrills!

It is worth noting that the main character of Harry Powell is very much an anti-hero; this was strange for its time because the classical Hollywood narrative always had strong heroic characters who would find a way out of the most tricky of situations. The character of Powell is portrayed as a harsh, brutal man with Love and Hate tattooed on his hands, who has never known love, but yet oozes sexual prowess from every core. But his biggest strength is his ability to manipulate people into believing his lies, this is shown by the way he easily charms his way into the lives of Harper family with his story of ‘right hand V left hand’.

The Night of the Hunter has an almost dream like beginning to it, because the story opens with Rachel (Lillian Gish) the old woman reading a biblical story to the children saying “Beware the false prophet in sheep’s clothing” which an indicator for the things to come.  But from the words read out the dream is presented as more like a nightmare, here Rachel’s job as narrator comes into view because her role is to render the nightmare to be at least partially safe and she is closest the children have to an adult role model in this film. Her final showdown with Powell as she fights to protect the children is particularly chilling as the two sing Biblical hymns against each other.

Robert Mitchum gives the finest performance of his career as self appointed preacher Harry Powell and his elegant mix of charm and danger gives him a glorious menace on screen. But his best quality is his ability to make Harry near likeable and it is easy to see why the naive townsfolk readily accept him into society! Mitchum is one of the under-rated actors of the classical Hollywood era and The Night of the Hunter serves as reminder of why he is considered one of the great film noir actors.

We can only wonder what Laughton’s directorial career could have produced if The Night of the Hunter hadn’t tanked at the box office, but nonetheless it is still one of the great noir films and alongside its captivating story it give us an iconic character. Be careful of the next charming man you let in your life- especially if he has tattoos like Harry Powell!

I Want a New Drug: Review of Side Effects

Side Effects

Director: Steven Soderbergh

By Alex Watson

There has long been speculation about the pending ‘retirement’ of director Steven Soderbergh and it seems that his new effort Side Effects shall be his last picture. If this fact is indeed true then it will be a shame to lose the Oscar Winning director who has brought us such greats as Traffic, Erin Brockovich, Ocean’s 11 and Sex, Lies and Videotape because he is man capable of bringing us fascinating stories which can stir a great range of emotions in us. Will his supposed last gig be the perfect send off? Or will this be an effort to forget?

When Emily Taylor’s (Rooney Mara) husband Martin (Channing Tatum) is released from jail after a 4 year stint, she initially is delighted to welcome him back. But soon after his release she struggles with depression and this leads her attempting suicide and is put under the psychiatric care of Dr Jonathan Banks (Jude Law) who after consulting with her previous therapist Victoria Seibeit (Catherine Zeta-Jones) agrees to put her on a new drug called Aplixa. Soon though Emily’s behaviour takes a strange turn and will begin to endanger all around her.

Side Effects is a well made thriller by Soderbergh and benefits well from a smart change of direction midway through. Initially as we watch Emily struggle to deal with her jailbird husband returning and her actions becoming increasingly erratic as she continues to take the Aplixa drug, we assume that like Traffic this will be a large ensemble piece that comments on the drug industry and the dangers that come with it. But the rug is expertly pulled from under us as the film enters a more mystery thriller zone!

Our sympathies lie with Emily in the film’s early stages as she tries to play the loving wife, but the cracks slowly appear from the drugs and this leads to some bizarre moments. We secretly prey that Dr Banks will help lead her away from the deadly pills before it is all too late, but after a shocking incident occurs perceptions shift sharply as Bank’s life slowly un-ravels as a result and we come to secretly wonder what goes on behind those innocent eyes of Emily and this leads to a suspenseful third act as Banks attempts to win back his life!

The corruption of the pharmaceutical world is heavily commented upon by Soderbergh in Side Effects, as we see Banks happily going along with various drug trials for big companies because he will get paid handsomely for it, no matter what the effects may include. There is also a sharp observation made in the wake of bad events happening with a drug that there still millions to be made. Refreshingly this theory doesn’t burden the film and assisted by a good script from Scott Z Burns, Soderbergh allows the story to pan out and its twists to continue coming.

Rooney Mara excels as the female lead in this film and has the fantastic ability to bring both a heartbreaking innocence and well as a cold chill as Emily. Her presence on screen is one that great aids the transition from a social commentary to a good thriller. After her stunning performance as Lisbeth Salander in The Girl with the Dragon Tattoo, this serves as proof that Mara is a very capable actress.

Jude Law is also excellent as doomed shrink Jonathan Banks and he is able to rise above the usual clichéd roles in this area as Banks possesses a great resourcefulness and this is shown in a clever last act as he works to win back everything taken from him, even if it means bringing someone else down! Catherine Zeta-Jones and Channing Tatum are both very underused in Side Effects and Zeta-Jones makes for a compelling presence and we feel that more of her inclusion could really have come in useful.

So is this really the end for Steven Soderbergh? Time will tell the answer to this one, but if this is his last picture then he has chosen a good note to bow out on as Side Effects is an effective thriller which keeps our brains constantly ticking until the final reel.  So farewell… I guess for now Steven!

The Tide is Rising: Review of Chinatown

 

Classic from the Vault

Chinatown (1974)

Director: Roman Polanski

By Alex Watson

Roman Polanski may have garnered much unwanted attention over his infamous brush with the law back in 1977 where he was forced to flee the United States due allegations of sleeping with an underage girl and is still a wanted man there. But people haven’t forgotten what a magnificent director he is and he one capable to bringing such jarring images to mind and powerful emotions to the screen in film such as The Pianist and Rosemary’s Baby. But his real tour de force was set against the backdrop of the LA Noir scene in his masterpiece, Chinatown.

Private investigator Jake Gittes (Jack Nicholson) is hired by a woman claiming to Mrs Evelyn Mulray (Diane Ladd) to spy on her apparently adulterous husband Hollis who is LA’s Chief Water and Power Engineer. He completes his job and gets the dirt, but when the real Mrs Mulray (Faye Dunaway) appears in his office threatening a lawsuit, Gittes realizes something doesn’t add up! Very soon he finds himself sucked in a complicated mystery involving the city’s water supply and in doing so stumbles into the world of powerful businessman Noah Cross (John Huston).

Chinatown is one of the truly great thrillers of cinema and the legendary script by Robert Towne lays the groundwork and the story given to us is one that is very tense and ultimately heartbreaking. The mystery is a complex one to shift through at first and the talk about the water supply will probably seem strange at first. But as they tale of corruption and murder is played out, we slowly realize that water holds the vital clues we need and behind it is a ruthless man who willing do everything to get what he desires.

Jake Gittes is an engaging character because he is a private eye that has a wit that is second to none and is able to go about his job with great charisma, but there is also an element of danger to him and there are hints to his disgraced former police career when he worked out of Chinatown.  There is also a notion that he is swimming out of his depth and we get the sense that his prying into affairs is pushing him deeper into a hole. One great example comes when investigating a water outflow, he is told by a knife wielding assassin (Polanski) that “you know what happens to nosy people? They lose their noses!” cue being cut severely on the hooter!

Even though the man is making an honest living, it is one that could cost him his life and Polanski continually reminds us of this fact as Jake comes into contact with a variety of thugs. But none are more dangerous than when he comes into contact with Noah Cross. The man makes for a perfect movie villain because he is a man who genuinely believes that he can get away with everything and as a result has everyone around him running scared. But his motivation’s are all money based and as it is revealed what his real interest his daughter Evelyn is.

The relationship between Jake and Evelyn is one that drives Chinatown because it goes from being a mission to avoid being sued, to one of great concern and affection as her troubled past surfaces. But as the twists and turns keep coming, there is a sense that this won’t end well and it culminates in a tragic final scene and she attempts to her escape and as we watch Jake gazing powerlessly, his former partner can only tell him “Forget it Jake- It’s Chinatown!”

Jack Nicholson gives one of his most renowned performances as Jake Gittes and through his dapper suits and his wisecracking charm he holds the screen well. But there is far more to his performance than simply charming us, Gittes also possesses a deadly curiosity which will lead to hell raising situations! Together this is Nicholson and Polanski show and the two combined bring us a great picture of our time!

Faye Dunaway as Evelyn Mulray is truly heart-breaking, at first she plays the classic female fatale figure and is icy cold to Gittes but when her big secret is revealed, this illusion comes crashing to earth and a more vulnerable side appears. John Huston as villain Noah Cross has a great presence and through his definitive voice, the lurking threat never once abandons his time on screen and ensures he is proudly among the great cinema villains.

As a director Polanski still has the ability to make engaging films, but none have topped the class and sheer story power of Chinatown and even today its story altering twists are still as shocking as before. Just remember the dangers of digging too far into people affairs when you watch it though, it could have you wearing a nose bandage for some time to come!

Portrait of a Normal Family: Review of Stoker

Stoker

Director: Park Chan-Wook

By Alex Watson

 

Korean director Park Chan-Wook is something of a movie god among Asian cinema fans and his surreal yet brutally hardcore style of film making has left us with some fascinating imagery over the years. His acclaimed Vengeance trilogy which included the cult films Sympathy for Mr Vengeance, Oldboy and Sympathy for Lady Vengeance has catapulted him into the Hollywood limelight and for years many have been anticipating when his Western debut will be? Finally in 2013 Chan-Wook has finally arrived and his film Stoker so far has gained significant attention through a clever series of trailers. Is this the Western debut we’ve been waiting for from the Korean ace, or will this prove be to a misstep in his career?

When her father Richard (Dermot Mulroney) is killed in a car accident, India Stoker (Mia Wasikowska) mourns his death. But she is immediately suspicious when her mysterious uncle Charlie (Matthew Goode) is invited to stay by her lonely mother Evie (Nicole Kidman). From the moment he arrives, India suspects Charlie’s intentions of being devious and sets out to prove he was involved in her father death by any way possible. But in the process both she and her mother finds themselves drawn to this perfect stranger!

Stoker is the perfect western debut by Park Chan-Wook and as a film it proves to be a surreal and beautiful experience. Shot almost to within the confines of a large, luxurious house where dark secrets seem to lurk around every corner. Even as India takes a trip down the basement to put ice cream in the freezer, the mood turns nightmarish! The world presented to us by cinematographer Chung hoon-Chung is one of great dream like beauty and this adds to the ambiguity of the characters and throughout Stoker there are never any fiery overlong speeches, here the pain filled glances are far more powerful!

The story itself is one that grips us from the very first frame and when Charlie breathlessly sweeps into their world looking almost like James Dean, eye brows are immediately raised and from the scared reaction of the people who see him arrive at the wake- it is clear that he is a man that committed a terrible wrong somewhere! The story then blends into a fascinating murder mystery and as the secrets are slowly revealed our jaws droop further with shock! The film is excellently scripted by Prison Break actor Wentworth Miller, who succeeds in building up suspense to great levels.

But in these stories you need a great detective and India in this film fills that void! She definitely is not your average teenager and to some she may seem like Wednesday Adams crossed with Holly from Badlands. She may be hard to read as a person and is incredibly closed off, but it’s these facts that make her memorable and behind her suspicious eyes, something far worse is brewing! And as continues to deflect Charlie’s attempts to charm her we can feel her nearing closer to the truth.

Stoker is also served by a perfect cast who are able to able to conjure up some much feeling with limited words to use. They are led by the amazing Mia Wasikowska who has a gothic like beauty to her which makes her stand out on screen, but even more so her icy front that she gives India perfectly fits the strange feel of the story and adds fuel to theory that the Australian actress is a talent to watch in future. Matthew Goode skilfully blends a unique mix of suitable charm and a lurking threat of danger as Charlie; he will remind many of Joseph Cotten’s uncle character in Hitchcock’s film Shadow of a Doubt as he waltz into people’s live with devastating consequences!

Nicole Kidman is heartbreaking as Evie, a mixed up widow who seems to feel guilt at attracting attention from Charlie but like a smitten school girl she cannot help it! But underneath the facade she presents to others, she possessed a jealous streak that could pull the family apart. In one monologue she bitterly recounts to India why people bother having children and this provides us with one the best acted moments in the film!

Park Chan-Wook fans begin your celebrations now because he has finally brought us the Western film that we have been waiting for and is probably his most refined film yet. Stoker is a film which will have people debating its meaning for days to come and will serve as one of this year’s most distinctive experiences.  The future is bright for this man and we only wonder what his next piece will bring?

One Last Shot: Review of The Verdict

Classic from the Vault

The Verdict (1982)

Director: Sidney Lumet

By Alex Watson

Paul Newman was a true icon of Hollywood cinema, not only was he one of the coolest actors of his era in films such as The Hustler and Cool Hand Luke but he was an actor capable of a very wide range. But unlike some actors, Newman relished getting older and right down to his final appearance as mob boss John Rooney in Road to Perdition his presence never once faded. But one of his most under-rated performances came as an alcoholic lawyer in Sidney Lumet’s courtroom drama The Verdict, a role which showed that in his ageing years Newman could still make an audience sit up and pay attention!

Attorney Frank Galvin (Paul Newman) is a drunken, ambulance chasing lawyer whose life in a shambles and his once promising future is now long gone.  Through his friend Mickey (Jack Warden) he is thrown a medical malpractice case against a Catholic Hospital where a young mother was given the wrong anaesthetic while given birth and is now in a permanent coma! A large cash settlement is guaranteed and all he has to do is play along. But upon seeing the victim, Galvin sees a chance for redemption and instead takes the case to trial! But this journey will not be easy and takes him up against legendary lawyer Ed Concannon (James Mason).

The Verdict is a very hard hitting film by Lumet and its redemptive theme keeps us hooked throughout. Galvin’s journey from being a falling down drunk to finally gaining back his strength is not an easy journey to witness and along the way there are constant obstacles and Galvin has to deal with such problems as his expert witness mysteriously vanishing and his replacement proving useless on the stand! But against all odds Franks is still able to make a compelling argument which will result in a heart warming climax.

His case is one that many wanted swept under the carpet immediately including the hospital staff and particularly Judge Hoyle (Milo O’Shea) who cynically mocks Frank for taking the case to trial. The scene where Frank makes his choice to turn down the money is one of the most emotionally absorbing of the film, as he sits facing the Bishop who runs the hospital with cheque in hand we can feel a change coming over him and as he speaks about how this offer would “make him lost” it is this moment proves to be the tipping point for the film.

In the courtroom is where The Verdict really fires, but unlike some before it, Lumet refuses to release any potential fireworks and instead prefers to let the truth be the real power. He is aided by an excellent script David Mamet and it is here where Galvin truly evolves as a character! Even though Concannon masterfully manipulates the jury and seems to have the trial in his pocket- Frank is able to make a crucial breakthrough by finding key witness Cathy (Lindsay Crouse) through his constant searching and her powerful testimony is one that stuns the court!

Paul Newman gives one of his great career performances as Frank Galvin and as the lost man looking for a path, Newman makes the film click on all level and his self redemption engages the audience throughout. In any other hands this could have been a standard role with many impassioned speeches, but Newman plays a man just looking for justice rather glory and crucially downplays Frank’s moving closing statement to the jury and it is this effect that makes Galvin all the more memorable.

James Mason also makes for a perfectly oily villain and as Concannon he is a true nemesis for Frank. The man is nicknamed ‘The Prince of Darkness’ in the legal world and throughout the trial it appears that he and Hoyle have this trial already iced. Through Mason’s unique voice Concannon makes for a gripping villain! There is also a brief but unforgettable appearance by Lindsay Crouse as conflicted Irish nurse Cathy, who is the key to Frank’s whole case. Through hardly any screen time, Crouse is simply fascinating and rings in a heart stopping moment in the movie!

The Verdict is one of Lumet and Newman’s finest hours and is still as poignant today as it was over 30 years ago and still ranks as one of the most exciting courtroom dramas of all time. Paul Newman is an actor the likes of which we will rarely see again in the future and his star was everlasting right up until his death in 2008! Even though it is isn’t quite as iconic as some of his earlier role, this still proves what a multitalented actor this man was- Paul you are sadly missed!