The Real Me: Review of The Double

The Double

Director: Richard Ayoade

By Alex Watson

 

Meeting a potential doppelgänger is a very scary prospect and we can only imagine how nerve-wrecking it must be to see the same person staring back at you. Adapting Dostoyevsky’s novella, The Double might seem like a bold move for Submarine director, Richard Ayoade, but then again this man has proven to be more than just uber geek Moss from the IT Crowd. In this movie we will a man’s mind begin to unravel as he is introduce to a like alike who is his polar opposite in every way.

Simon James (Jesse Eisenberg) is a shy and introverted man who works an unrewarding job in an office.  Here he is continually overlooked and can never seem to access the building. He has a crush on fellow co-worker Hannah (Mia Wasikowska) who seldom seems to notice his existence. One day though, his life takes a dramatic turn when new employee James Simon (also Eisenberg) arrives at the office, but no one seems to notice he is Simon’s exact double! The man proves to be better at him in every respect and soon Simon is convinced his identity has been stolen.

The Double is a movie that is very heavy going and for fans of Submarine this shift may seem dramatic, but Ayoade skilfully adapts Dostoyevsky’s novel and adds a great psychological tension throughout. From the very beginning we are drawn into a grimy and dimly lit world full of depressing office cubicles and unremarkable, box like apartments. Everything in Simon’s life is mundane and as he rides the boring train to work each day, he seems to be a ghost in the office he has long worked. Even his his obnoxious boss (Wallace Shawn) still calls him ‘Stanley’. His longing for Hannah goes unrequited and even his own mother tells him he is a disappointment. When James arrives, the movie gets given a major shake up because this man simply glides in and seems to be everyone’s favourite guy.

When the moment arrives, this provides the firing point for Ayoade’s movie and throughout we see Simon’s mental state declining to the point of hysteria. But the big question always remains, how much of this is reality? James is a person he seems to good to be true and he is everything that Simon is not, which is confident, charismatic and good with the opposite sex. Soon he seems to be taking over his life and his apartment and Simon feels powerless to do anything. But his real point of frustration comes from the fact that no one else seems to notice these similarities!

All throughout you can feel the tension and edginess boiling to extreme levels and the films third act sends things into overdrive. Simon’s identity is constantly being stripped away in The Double, not once does his pass work and he is always told that he doesn’t exist in the system. The cracks are forever appearing in his state of mind and he seems to have no way of proving who he is. The denouncement however, will leave many people perplexed as to its actual meaning. But this makes for a perfect question to ponder as you ride home and in the coming days I predict much time will be spent on forums discussing this.

Jesse Eisenberg is excellent twice over in this film as the flip side of both characters, as Simon he is pitiful and wonderfully meek and this character is the one who holds our sympathies as he is routinely put down. When he plays James, Eisenberg gives him a magnificent cocky and bullying persona as he swoops in and bulldozes his counterpart’s world to the ground. One can only wonder how his upcoming turn as Lex Luthor will turn out? Mia Wasikowska is also excellent as both men’s dream girl, Hannah and her slightly aloof performance suits the character perfectly and she gives her enough charm to make her alluring in the grey world on show. Also watch out for the entire cast of Submarine.

Many may have expected this to be a page for page adaptation of Dostoyevsky’s book, but Richard Ayoade’s version of The Double has enough merits on its own to stand out as an original piece. This will be one of the more thought provoking pieces of the next few months and it is worth seeing it to make your own conclusions. Will also come handy as a survival guide if you meet your exact double too!

 

A Man Apart: Review of Captain Phillips

Captain Phillips

Director: Paul Greengrass

By Alex Watson

 

Earlier this year we saw the full effects of a cargo ship being hijacked by Somali pirates in Danish movie A Hijacking. But now established director Paul Greengrass and megastar Tom Hanks give us an unbelievable account of Richard Phillips- a man who selflessly survived against the odds during a daring raid at sea in his movie Captain Phillips. However as we have so often witnessed in these movies, people should prepare for things to get mighty tense because in the wide blue ocean, escape is impossible!

In April 2009 after leaving its port in Oman, Captain Richard Phillips (Tom Hanks) takes control of the Maersk Alabama ship heading to Mombasa. But during its voyage, the ship comes under threat from a group of Somalia pirates and despite the Phillips and the crew’s best efforts- the ship is boarded! To avoid things getting messy, Phillips is taken as a hostage to save the lives of the crew. Over the next five days, events will become tense and with his captors becoming more desperate, Phillips’ life hangs in the balance!

After a slight misstep with his previous film, Iraq war effort Green Zone, Paul Greengrass is right back on award winning form with Captain Phillips and this film is a tight and tense ride and will guaranteeing heart stopping moments throughout. Its principle strength comes from the main character we are given and Greengrass and writer Billy Ray smartly avoid any hero clichés with Phillips and make him as an ordinary simply wanting to do this job! But it’s how he keeps his head during the movie’s most fist clenching sequences that make him stand out and thanks to his skilful diversions of the captors, his crew are given a fight chance at survival!

Things are slow burning in this drama and events begin with a still calmness with Phillips driving his wife to work in the US and giving a speech about remaining tough and once at sea we are shown the men going about their duties. But when the attacks come, they start as no more than a blip on radar that makes him suspicious- but as they near, it becomes clear they are not just going to pass and when the pirates come, Greengrass’ love of detail shows throughout as we are shown exactly how a major cargo ships repel attacks, but as the pirates get their ladder abroad, we know things are a whole new ball game and these men are no ordinary thugs!

Events  in Captain Phillips are divided into two main parts, the first being the crew of the Alabama being under attack and the second being Phillips becoming hostage in a life raft with a group of money hungry pirates. The second half is where the psychological edge comes into play as Phillips (nicknamed Irish by his captors) is forced to play it smart in order to stay alive and as the US Navy closes in, his captors become more unstuck and soon it becomes clear that his un-killable status is slowly decreasing as their options run out! But there is no reason with these men and as Phillips make a futile effort to convince his chief captor Muse he can change, the man snidely responds “Maybe in America, Irish” By the end of his ordeal, the wear and emotion plays on his face so hard it will be impossible even the steeliest person not to shed a tear!

At the centre of events is a tour de force performance from Tom Hanks as Richard Phillips and right through this movie Hanks gives his character and strength that endears him to us from the very beginning and he makes sure that we experience each emotion along with him. Hanks is surely front runner for the Best Actor Oscar as award season rolls around! There is also a note worth performance from actor Barkhad Abdi as lead pirate Muse and thanks to some excellent work, he makes for a lurking threat throughout as a man driving purely by monetary reasons!

Together Greengrass and Hanks have given us one of the most absorbing and poignant drama’s of 2013 and Captain Phillips is a dead certain to appear on many awards nominations lists this year. There may be times when viewers are compelled to look away in fear, but stick with things and you will rewarded with an ending that will truly strike home and leaving recount events as you walk home. But for those who ever wanted to know how to fend off Pirates at sea, you might want to take note when watching this.

Dark Shadows: Review of Black Swan

New Cult Classic

Black Swan (2010)

Director: Darren Aronofsky

By Alex Watson

Darren Aronofsky is one of the most visual stunning directors of the modern day and his film always feature a variety of stunning techniques that dazzle on screen. Take for example his rapid cutting in Requiem for a Dream which gave us an astonishing but ultimately frightening look at heroin addiction or his interweaving of stories in The Fountain which gave us an intriguing tale of love and mortality. But perhaps his best effort to date has to be his 2010 Oscar winning effort, Black Swan which gave a fascinating example of a woman on the edge but willing to achieve greatness at any cost!

Nina (Natalie Portman) is a ballet dancer who lives a very shelter life under her controlling mother Erica (Barbara Hershey). But she lands a major break when she is selected as the Swan Queen in a new version of Swan Lake. Initially sceptical of her ‘frigid’ dancing, her director Thomas (Vincent Kassel) urges Nina to explore her dark side to be able to dance the white and the dark swan as required. But as she strives to be perfect, Nina’s state of mind grows increasingly paranoid at the entrance of talented ballerina Lily (Mila Kunis) who is fast becoming Thomas’ favourite which will lead to a fierce rivalry.

Black Swan is a magnificent dark tale by Aronofsky and it benefits from a tension that is slow burning and all throughout the claustrophobia is continually building to unbearable levels. From the very outset it is apparent that Nina is a very fragile girl, who is not helped by her overbearing mother who seems to be the one pulling the strings and there a hints to events in the past that are never explained but we assume the worse about! Initially she is wall flower who is pushed forward into the big lights and when her big chance comes she becomes obsessed with ‘being perfect’ and things aren’t helped by Lily’s arrival and her increasing suspicion that she is there to usurp her!

As Aronofsky’s film delves into dark territory it encounters a magnificent psychological edge as Nina begins experiencing some disturbing hallucinations and these moments become more dubious as time goes on and we wonder how much of this is really in Nina’s head and gradually ‘The Black Swan’ starts to take over and the virginal and pure side of her is replaced by something far more dangerous! The  hand held camera direction by Aronofsky capture this uneasy feeling perfectly which leads to a beautiful yet devastating climax.

The rivalry of Nina and Lily might be viewed by many as garden variety but the pairing of them on screen together mirrors the plot of Tchaikovsky’s ballet as Nina worries that Lily is the evil sister out to seduce the prince and steal her chance of glory. But as her paranoia grows so does the ambiguous nature of the story and as Nina witness what she believes to be increasing betrayal by her opponent, it leads us to ponder if this truly what we see or is Nina’s mind pushing towards breaking point?

But Black Swan belongs to the Oscar winning performance of Natalie Portman who proves a revelation as a leading lady! As Nina she is able to combine the ability of portraying a meek little girl with another darker side altogether. When the other side is revealed to the audience we see another difference performance which sailing into scarier and more chilling waters. This is the role we had been waiting for Natalie to play- and she doesn’t disappoint!

We are also given top support by Mila Kunis who after her many comedic roles proves her strength at playing it straight and she is able to give a wonderful mischievous performance as the under suspicion Lily. Barbara Hershey is icily convincing as Nina’s meddling mother Erica and veteran Hershey gives her character a frightening controlling edge which makes us think about what influence she has had on Nina’s delicate state?

Black Swan is a movie that you will rarely experience and will prove to be one psychological film that will keep your mind ticking for days after. It is also a showcase for the directing talents of Aronofsky who thanks to this continually twisting story he along with Portman prove to be real stars! But be sure that if you ever spark a rivalry with someone- make sure what you see and hear isn’t all in your head!

Special Assignment: Review of In The House

In The House

Director: Francois Ozon

By Alex Watson

 

The cinema of Francois Ozon is always a fascinating experience because you are never sure what feelings you will come out the theatre with. His film Swimming Pool left us truly puzzled as we our way home and we were left to wonder about the events we had just witnessed. Last effort Potiche (which UK film audiences will remember for its satire in the Orange Film ads) showed Ozon’s funny bone and that he was capable of playing it straight. This week he returns to the mind being world with his film In The House where he examines a teacher’s relationship with a rather different student!

High school teacher Germain (Fabrice Luchini) is a man who is lacking inspiration in life and his marriage to his wife Jeanne (Kristin Scott-Thomas) is slowly dying. One day while marking an assignment he find himself fascinated by his student Claude’s (Ernst Umhauer) essay about his weekend where he describes at length the inside of his friends house and his observations of his perfect family. Drawn to this Germain strikes up an odd relationship with Claude and encourages him to keep writing about the family, but soon his writings become gradually more uncomfortable to read!

In The House is a truly magnificent effort by Ozon and he once again proves himself to be one of the masters of mind trickery, the film starts with a very innocent setup but a simple essay soon turns into an increasingly awkward scenario as Claude starts to play games upon his hapless classmate and is seemingly try to worm his way into their charms and perhaps into the family picture? The mesmerising thing about Claude is his attentions remain constantly ambiguous but his funny smirk suggests that his plans will have an unpleasant outcome for all concerned!

The relationship between teacher and pupil is what makes Ozon’s film tick, Germain is at first repulsed by what he reads and scolds his student for making such snarky quips about his friends family- but as we progress both seem to go past the point of no return and Germain finds that he is deeply concerned about what will happen but finds Claude’s writing so addictive that he must know what happens next, to find this out he is willing to go great lengths, slowly things between them go from being beyond mentoring and a dangerous obsession develops for both men which could have devastating results!

Perhaps In The House’s greatest quality is Francois Ozon’s skilful weaving between real and imaginary, throughout the film as we see Claude’s writing acted out before us we find our chests gradually closing shut as Claude’s fantasies grow more chilling as events progress we have are forced to keep an open mind but thanks to Ozon’s excellent direction, we find it impossible to distinguish what is genuine and this brilliantly adds to the film psychological edge and makes a more tenser experience than we could ever imagine.

Fabrice Luchini helps bring the film alive with his excellent performance as hapless Germain, Luchini is able to bring across Germain’s reluctant fascination and holds the centre well and he is joined by veteran English actress Kristin Scott-Thomas who gives good support as his troubled wife Jeanne. But it’s Ernst Umhauer who steals the acting honours with his brilliant yet uncomfortable performance as Claude and he is able to bring a brilliant ambiguity to his role which gives him an enthralling presence, this is a talent to keep an eye on in future!

I can predict with confidence In The House will be among the best pieces of world cinema that we will witness in 2013 and it is a enticing yet unbearably edgy ride that we undertake. This film should be compulsory for all teachers to watch because you may want to keep a close eye on any students who take a little too much interest on their friend’s family!

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!

Listen Carefully: Review of The Conversation

Classic from the Vault

The Conversation (1974)

Director: Francis Ford Coppola

By Alex Watson

 

Francis Ford Coppola is a man who has brought us some of the true landmarks in the history of cinema. The 1970’s truly belonged to this man and his gripping and lavish films that he was able to bring us. But his downfall after making Apocalypse Now is also just as well documented and the 80’s and 90’s were not so kind to him as a result. But in spite of that everyone still has fond memories of this man, particularly of the gripping thriller that won him the Palme d’Or at the 1974 Cannes film festival. Here a man will learn the cost of eavesdropping on people in The Conversation.

Harry Caul (Gene Hackman) is a renounced and well respected surveillance expert in San Francisco, though because of his job he lives a solitary existence, which at times annoys his assistant Stan (John Cazale). Normally Harry remains un-interested in the subjects that he records and gives little thought to what happens to the tapes when he is done with them. But one day while analysing a young couple’s conversation, he hears the words “He’d kill us if he had the chance”. This irks Harry’s suspicions and very soon he finds himself drawn into a dangerous murder plot and as a result he begins questioning the morals he sticks to!

The Conversation is a compelling and excellent psychological thriller which builds suspense all the way through. The paranoid edge that surrounds this fits perfectly in with Harry’s state of mind and at times we begin to question whether or not the things we are witnessing are simply delusions? The words that Harry hears are there for all to see but their actual meaning is the trigger of his undoing, and from hear the deeper he does into the rabbit hole, the more sinister the movies feel becomes!

Harry Caul is a fascinating character study because he is a man who lives a life which is the very definition of solitude and because of the pressures of his job he has developed a very suspicious edge. Because of his paranoia his personality is very closed off and he finds it hard to interact with others, even if it is revealing the most banal aspects of his life (he can’t even accept a birthday card from a neighbour without getting asking questions).

But alongside his guarded sense of being- Harry also possesses a deep guilt that affects him profusely because he knows his job has hurt people in the past. Coppola’s linking of this to Caul’s devout Catholicism is brilliantly done and as we near towards The Conversation’s claustrophobic finale this brings about a redemptive theme and in the end he finds a bittersweet relief in his findings.

In some ways it is a big shame that Coppola’s career faded after the 1970’s because of this film shows him at his very best and his superb direction gives the film its tight feel and through this it ensures that The Conversation deservedly earns its cult status.

Gene Hackman gives one of his most under-rated performances and as the socially awkward loner Harry. His presence is one that is greatly missed since his retirement for acting in 2004 and this film serves as a reminder of what tremendous presence Hackman had on-screen.

Also keep an eye for an early role for Harrison Ford as Martin Stett, a young assistant director who keeps a close eye on Harry throughout. Through Ford he gives Stett an oily and ominous feel which only adds to Harry’s theory that he is part of a bigger conspiracy.

Though he was forced to become a director for hire in later years, Francis Ford Coppola will always be considered a great American director and The Conversation is one of the tensest films you will ever see. Make sure to include this in your DVD collection alongside your The Godfather box sets everyone because it will make a worthy addition.

Leader of the Pack: Review of The Master

The Master

Director: Paul Thomas Anderson

By Alex Watson

Paul Thomas Anderson makes a return to our screens after a 4 year hiatus this week. His previous effort There Will Be Blood (reviewed previously in January) boasted one of the great performances of years gone by in Daniel Day Lewis and some very lush cinematography. Ever since then film fans and critics alike have been counting the minutes until his new effort, The Master. But it’s not just the great director who is on the comeback trail, Joaquin Phoenix also make a re-appearance in cinema after his fake retirement into music business. But together will this be a match made in heaven, or the pair becoming un-stuck?

Freddie Quell (Joaquin Phoenix) is having trouble adjusting to civilian life due Post Traumatic Stress Disorder after being discharged from naval service in World War Two. The man is constantly in an angry and drunken haze and seems continually to be fighting people. One night, he stumbles onto the boat of Lancaster Dodd (Philip Seymour Hoffman), a leader of a radical religious ensemble known as ‘The Cause’. During their time together Dodd takes a shine to Freddie and happily accepts him into their group. But soon Freddie comes to doubt whether the ideals that Dodd preaches about are really true?

P.T Anderson’s film is one of the most stunning of 2012 and has a power to it that grips us all the way through. We have a picture of a very different America post WW2, a place where men like Freddie are struggling to find their way and often are looking into the wrong places. The cinematography by Mihai Malaimare Jr is like a picture postcard and because of this there are many images that will stick with us forever, such as stunning motorbike ride through a desert.

In true Anderson fashion, The Master is perhaps longer than actually needs to be and Anderson takes his time in letting the bizarre story play itself out. But it is a story that is worth the wait because those see this will be rewarded with a gripping tale that leaves us truly bewildered as we leave the cinema and will have us asking questions for days after.

Ever since its announcement, people have been long debating whether or not The Master is basically a film that revolves around Scientology and its ideals? Whether it is or not this is the case is irrelevant because the portrayal of ‘The Cause’ alone keeps us hooked throughout and we wonder just how true the ideals its sells actually are.

The big question comes from its smooth talking and charismatic leader Lancaster Dodd, a man who claims to be a prophet who can read past lives. But is this man really nothing but a glorified con man with a silver tongue? The case seems solid because when challenged on his ideals, he demonstrates a truly nasty streak and seems to intimidate people into thinking differently. This element of mystery provides the movie’s edge.

Together Freddie and Lancaster provide the real attention for the movie; it is unclear exactly what Lancaster sees in Freddie, whether it is that he is a lost soul in need of guidance? Or maybe a warped mind for Lancaster to mould into his own image. Their moments on screen are some of the most powerful of this year, particularly when Lancaster submits Freddie to a gruelling Q & A session where he hits upon some hard home truths. This moment alone keeps our eyes glued to the screen, and afterwards they never leave them.

It is wonderful to see Joaquin Phoenix back on screen and he doesn’t disappoint with a truly remarkable performance as sex addicted Freddie. Through Freddie’s twitchy and restless behaviour, Phoenix holds the screen with force and gives a strong impression of a man on the brink of things. But who has perhaps fallen into the wrong hands. Phoenix has been a great actor for some years and we can only hope there are no more hiatuses on the horizon for him.

He is joined by the ever brilliant Philip Seymour Hoffman who rings in an equally strong performance as Lancaster. Through Hoffman’s magnetism he brings the softening touch to Freddie’s angry outbursts and superbly holds his own against Phoenix. The pair are odds on for Oscar nominations this year, and perhaps Amy Adams will also be considered for her excellent support as Lancaster’s suspicious wife Peggy, a woman who wonders if Freddie is truly worthy of being in ‘The Cause’?

The Master probably will not to be everyone’s taste and could require repeated DVD viewing to truly understand it’s meaning, but it is worth seeing to witness two of the truly great performances of 2012 and another example of just why P.T Anderson is one of the great working directors today. But more than anything- good to see you again Joaquin, come again soon!

Crazy in Love: Review of Misery

Classic from the Vault

Misery (1990)

Director: Rob Reiner

By Alex Watson

Some of the really brilliant moments in movies are the ones which make us squirm with discomfort! The effect of these is that although they are un-pleasant to watch, we know that are the images that will stick in our minds after the credits roll. Take for instance Brad Davis biting out another inmates tongue in Midnight Express, or James Franco being forced to amputate his own arm in Danny Boyle’s 127 Hours. But none were more stomach churning than the leg breaking scene in Rob Reiner’s, Misery to give this full effect you need an actor with a presence to match, and in Kathy Bates it was found!

Writer Paul Sheldon (James Caan) has found great success in writing the Misery series novels, but now he has killed her off and is moving on to new things. But when he crashes his car during a freak blizzard he comes into contact with his ‘biggest fan’ Annie Wilkes (Kathy Bates). Whilst confined to his bed Sheldon begins a horrific ordeal as he is regularly tortured and forced to re-write his novel to bring back the character he has killed off. But his problems are only just beginning!

Misery is a film that will never leave your mind for so many reasons, firstly the character of Annie Wilkes is one of the most terrifying figures in cinema and she is the kind of fan that any famous person hopes not to come within 1000 miles of. She is a woman with a very short fuse and at any moment there could be a major explosion, the constant look of dread on Paul’s face sums up his terrifying experience and we fear for his safety all the way through.

Director Rob Reiner does a masterful job of keep the suspense at maximum all the way through.  When we first meet Annie she seems a little too obsessed with Sheldon’s books for her own good- but the moment she finds that her beloved Misery has been killed, she snaps completely! And as she goes nuts we know horrendous events lie ahead! This one event seems to set Annie off and she becomes convinced that it is her ‘mission in life’ to make him bring Misery back from the dead!

By the time the leg breaking scene comes, we already completely scared stiff by this crazed woman and her delusion that her time with Paul is some kind of off-beat romance. But this doesn’t lessen the brutal effects that follow, as the sledge hammer hits we cower in our chairs, the most horrific part comes after when Annie says ‘God I Love you Paul” it’s times like this that make us hope we never have to experience something like this!

Kathy Bates gives one of the scariest performances of all time in Misery and all the way through her very presence strikes fear into the heart! But it’s not just shock value because Bates gives Annie a more human element in her calmer moments and we begin to realize that there might be a good person underneath it all who is lost in haze!

She is ably supported by fellow veteran James Caan who gives a wonderful as Paul Sheldon, although he spends most the movie looking petrified, he is also very resourceful and constantly looking for a way out and as the film carries on, Caan gives him an edge which will eventually see him through.

Rob Reiner’s adaptation of Stephen King’s novel remains a tremendous piece of work and even today it has lost none of its jump factor. Casting Kathy Bates was one of the best decisions he could have made, it is a shame that Reiner’s career of late has taken a major slide because Misery showed how versatile a director he could be. For a very different kind of Halloween, I recommend this film but beware it might just drive you Cock-a-Doody with fear.

In Dreams: Review of Total Recall

Total Recall

Director: Len Wiseman

By Alex Watson

Re-makes, re-boots, re-imaginings- whatever you wish to call them, Hollywood these days is full of adaptations. Paul Verhoeven’s film Total Recall was a very weird but brilliantly entertaining piece back in 1990, with Arnold Schwarzenegger to anchor it as mysterious Mars miner Douglas Quaid the piece with its insane effects soon became a cult hit. When Die Hard 4.0 director Len Wiseman announced he was going to tackle this much loved tale, people responded in different ways and few thought that it could ever sum up for the mind trip effect of the original. What will Wiseman treating his new vision and more importantly, is it all a dream?

Like the original, Total Recall follows worker Doug Quaid (Colin Farrell) who lives with his beautiful wife Lori (Kate Beckinsale). Quaid is experiencing troubling dreams of a fabricated life as a spy agent where he is joined by Melina (Jessica Biel). To help ease his sleepless nights, Quaid pays a visit to Rekall- a place where synthetic memories are implanted and it will allow him to live out his dreams. Very soon Doug will discover that his dreams may yet be real… and soon the enemy, led by the evil Chancellor Cohaagen (Bryan Cranston) are closing in!

Len Wiseman is to be commended for his efforts to bring a new approach on this aged classic, and there are also kind hints to P.H’s original such as the three breasted lady and the ‘Two Weeks’ woman. But sadly it is there the complements shall stop because although visual spectacular, his Total Recall falls far short of the original. While the original gave a great deal of un-expected laughs in the frame of Arnie’s one liners, the new script by Kurt Wimmer and Mark Bomback just feels plain and formulaic and seems un-concerned with giving anything even slight absurd!

The initial story was similar, though Verhoevens was set on Mars, but the feather in the cap of the original was that we could never tell whether or not Quaid’s world was all a dream?  Here the situation is made clear very early and very soon this piece just descends into a typical shoot out and loses the element of mystery to it.

One place where the new Total Recall does spark an intrigue is in the representation of a world torn apart from chemical warfare. Earth is now divided into United Federation of Britain, and the Colony, which are constantly at war with each other. But due to a complex explanation about how this came about, it quickly loses us. What this scenario lacks is a strong villain controlling the middle, the Cohaagen of old was a true tyrant, one that previous villain Ronnie Cox was a specialist at! The new boss just feels as if a stiff breeze will topple him!

Colin Farrell easily betters his performance over that of Schwarzenegger, particularly in the beginning stages when Quaid‘s old persona is re awakened, and it truly terrifies him!  But a man of his talents can surely do better than being stuck in something like this? Kate Beckinsale does well as Quaid’s wife turned eventual villain Lori, her conversion from loving missus the giving a flying kick into Doug’s face does shock us!

Beckinsale thoroughly out muscles Jessica Biel in the female acting department, Biel although good eye candy doesn’t really register as the film goes and we start to wonder why her character is really involved. The fantastic Bryan Cranston however, is short changed as the villain and unlike his terrific Walter White on TV’s Breaking Bad; he isn’t given nearly enough meat to sink his teeth into. Someone please give this man the role he deserves.

Although it will probably bring the money into the box office, Len Wiseman’s Total Recall probably won’t be remembered as fondly as Verhoevens. It does bring its own original ideas but it does have either the comedic or the strangeness that made the original so memorable! It does make you wonder what the next Arnie adaptation will be… Jingle All the Way anyone???

Norwegian Wood: Headhunters Review

Headhunters

Director: Morten Tyldum

By Alex Watson

The books of Norwegian writer Jo Nesbo are already best sellers worldwide. His series of detective novels that follow the exploits of Norwegian police officer Harry Hole are selling in their droves. The man is being touted as ‘the new Steig Larsson’ given the Scandinavian connection and amount of copies sold; you would have to agree presently. But it isn’t the exploits of Harry Hole that has brought his name to our screen. Today we turn to adaptation of his 2008 novel Headhunters.  Adaptations of these stories are the current cash cow in cinema these days because they always have a solid story to them. Will this film join the rank of such Scandinavian films as The Girl with the Dragon Tattoo?

The story focuses on a man called Roger Brown (Aksel Hennie) who is a head-hunter that specialises in scouting applicants to fill various high profile roles. He has a luxurious life and a beautiful wife to boot as well. But on the side Brown is also involve in the theft of high profile art pieces. This is to cover the debt that he has accumulated to live his excessive lifestyle! Soon he comes into contact with Clas Gleve (Nikolaj Coster-Waldau), who is a former CEO of a notorious GPS company. Roger approaches him about a position, but soon finds out that Clas has a priceless Rubens painting in his home.  Very soon Roger plans to steals the piece from him, only to discover that Clas is also a head-hunter- only a more dangerous kind than his used to!

Headhunters is a very glossy and slick thriller, from the opening moments of the film we see the picture postcard that is Roger’s life. His home is big, fancy and most surprisingly… he hates it! The beginning part is almost a step by step guide for viewers on succeeding in the art theft business. For a moment we are almost tempted throw in our day jobs. The turning point in the film is when Roger meets Clas Gleve. When he learns that Clas used to be a former special forces man who specialised in human tracking, the film takes a new turn altogether! From this point the sparkle dissolves and Headhunters turns into more a psychological thriller as Roger fights to stay one step ahead. As the twist keep on coming, director Tyldum keeps the audience guessing until the very end.

The two central characters are the element that gives the story its edge. In the early stages Roger isn’t a particular likeable character, he’s smug robber who is neurotic about his height, has a lifestyle he can’t afford and a wife that he believes will leave him! But as the story progresses, we begin to side with him as he chased across the country and his life is gradually torn apart. From the moment we see Clas we can tell he is everything Roger is not. He is handsome, successful and has all the criteria Roger feels his wife would leave him for. But underneath his smouldering looks Gleve isn’t a man to be trifled with and this part gives the story its true grit. As he lurks in the shadows, we wonder what his next move will be?

Aksel Hennie is a compelling presence in Headhunters, at the beginning of the film he looks very confident in himself- despite his monetary troubles. But as the film progresses Hennie gives Roger a more vulnerable and humane feel and we feel him slowly begin to drown in the ensuing chase through the woods. Nikolaj Coster-Waldau is both charming and ruthless as Clas, a very different kind of corporate suit. His coolness under pressure rips Roger to shreds in the duration of the film. The Game of Thrones star is one of the rising talents in Hollywood, and judging by his performance here we have another King of Cool on our hands and it may be sometime before he appears in this sort of film again.

Headhunters is both a fine thriller and a great character piece, although it may not hit the heights of Steig Larsson’s work, it is still worth a look. The one question that remains with this film is will it see the customary US adaptation in the near future? All I can say is they better choose wisely because the actors here will be hard to beat!