We’re No Angels: Review of Calvary

Calvary

Director: John Michael McDonagh

By Alex Watson

 

After the triumph of their utterly hilarious 2011 movie, The Guard, the Irish duo of director John Michael McDonagh and actor Brendan Gleeson return to our screens this week. This pair have only made one movie so far together, but it is already looking like a combination that could bring about great things in the future, because these two are able to capture laughs and beautifully emotional moments in the most unlikely of scenarios. There has been much hype surrounding their follow up, Calvary, and although the laughs are due to flow, there could also be a far heavier air over the events of this movie.

Father James (Brendan Gleeson) is a Catholic priest based in Silgo, Ireland who has taken up the collar where late in life and simply wants to help people however he can. But one day, receives a death threat while in confession from a member of his congregation who was abused by another priest when he was younger- but rather than execute him on the spot, the mystery man gives him a week before he kills him. Father James, believes he knows his killer, but the whole town has a variety of reasons to dislike the church, and events arent helped by the visit of his troubled daughter (Kelly Reilly) who has recently attempted suicide.

Calvary proves to be a excellent follow up to McDonagh’s previous effort, The Guard and again he gives us a movie of such raw hilarity that you almost feel guilty laughing in places. But rather than simply replicating the light hearted tone of the last film, McDonagh instead gives us a blacker tone than before and this aids the film immensely and adds to the suspicions of the people around Father James. Our attention is caught immediately in the opening moments when in confession we hear his soon to be killer utter “I first tasted semen when I seven years old!” to which the priest can only reply “That sure is a shocking opening line” Although from the opening, he confesses he knows who the culprit is, we are smartly withheld any potential clues and with the hostility against the church continually brewing in the town, everyone we meet is a suspect!

Father James is a 360 degree turn from the drug abusing and sardonic Sgt Gerry Boyle and he is an ordinary man who just wants to make the world a better place- but his efforts are not helped by the dark history of the local church, where many of the locals have been abused in the past. As a result of this many people mock him for his vain attempts to help. A former alcoholic, James struggles with his demons throughout and tries to maintain a brave front in the face of impending death. The priest gets continual mental thrashings from different community members, but no matter what he still never gives up on them- even if it means visiting a notorious killer (Domhnall Gleeson). The visit of his daughter helps to mend some bridges, but also opens old wounds he has tried so hard to forget- the past is never fully explained, but the movie is better for it and instead McDonagh allows the sheer emotion on display to tell things better than any words could do.

But all the way through Calvary we are continually counting down to the inevitable moment of Father James’ possible death and the continual guessing game of who will show up on the day adds a much needed tension to events. Refusing to be bullied into submission, James at times takes a turn for the worst when standing up for himself, including getting a gun and shooting up a cocky bar owner’s place (and receiving a beating for his effort) and defiantly tells people “My time will never end” The eventual revealing of his nemesis will surprise many, but also keep people guessing after the end credits, because one of piece of denial, our minds are thrown into doubt! It does however, provide us with an ending that oddly uplifting and gives the notion that there could be hope still for this town.

This movie however, belongs to Brendan Gleeson who rings in a stunning and profoundly affecting performance as Father James. I have mentioned on numerous occasions just how underrated this man is, and McDonagh it seems has found the perfect muse for his work. There are also a series of excellent cameos appearences from fellow Irish actors Chris O’Dowd as apathetic butcher who is overjoyed his wife is cheating on him with another man, Dylan Moran as a bitter and alcoholic banker whose big fortune has become meaningless to him. But its The Wire’s Aiden Gillen who steals the supporting honours as cynical atheist doctor who at one stage deliveries a speech so venemous and cruel, it will stay with you after for ages after!

The pairing of McDonagh and Gleeson is fast becoming one of the best in cinema and Calvary is a movie that deserves to make critics top 10 lists come the end of the year. I highly endorse this movie and I guarantee you there is will not be a blacker comedy in 2014 or another film that plays on our emotions more than this one!

Biblical Flood: Review of Noah

Darren Aronofsky is a director whose bold visions have been making Hollywood stand up ever since his mesmering movie Requiem For a Dream. The results can often vary in terms of quality, but his hypnotic effect and unique style of directing cannot be denied. Ever since he let Natalie Portman dance to an Oscar in his dark and dangerous masterpiece, Black Swan, Aronofsky has been absent from our screens for the last four years. But he has not been wasting his time and this year he brings us his version of Noah and the Ark- though his mission was not without its battles and he had to fight Paramount Pictures to have his vision realised. But this will not be the first time he has gone for a story that has both engaged and alienated fans, how will Noah be worth the hard mission?

The world in ancient times has become a corrupt place and  has since fallen from Paradise and is ruled by Tubal-Cain (Ray Winstone) who is a descendent from Cain, the first known murderer. Noah (Russell Crowe), a family man descended from Seth, has begun to receive what could be visions from The Creator about an almighty floody that will rid the world of the violence and greed that has consumed it. To do this he will need to build a greak ark to save both his family and all animals of the earth and give mankind another shot at a better world.

Noah is a very bold biblical epic from Aronofsky, but in typical fashion this is not an easy ride and makes us work to fully comprehend its message and this will most likely both amaze and frustrate audiences in equal measure. There are beautiful and thought provoking moments in this piece, at one stage Noah treats us to an a fascinating view of the creation of the universe, through this stunning sequence we also are key witnesses to Adam and Eve bring about the fall of humanity and paving the way for lust, gluttony and all other sins to enter into the world. The early visions are ones that are truly startling- Noah stands barefoot in a field paved with blood! But they spark our curiousity to just how much devastation the Creator is planning to bring?

Interestingly as a character, Noah is smartly protrayed as both hero and villian because although he is concerned about doing the lords work and protecting his wife Naameh (Jennifer Connelly), sons Shem (Douglas Booth) and Ham (Logan Lerman) along with surrogate daughter Ila (Emma Watson), he is at times a little ‘too willing’ to see his mission through and this will lead to him actively sacrificing innocent souls under the pretense of them ‘not being good’. When it comes to his family, a certain drama will Ila will lead to his family taking sides while Noah skulks murderously in the shadows- his intentions may be good, his actions certainly are not!

But although it is refreshing that in Noah that Aronofsky chooses not to just focus on the genesis of the bible and avoids any confusing sequences, the story and action are still are hard to fully enjoy. When the flood hits, the excitements are a big high even for this director, but the build up is a very slow burner and the end sequence takes its time to get to get where it’s going. As a result of this, audience will mostly like be moving restlessly in their seats waiting for the inevitable to happen. But however, you have to admire Aronofsky for going for such a brave piece for his return and despite his disputes with Paramount over the preferred final cut, we should be thankfully his own vision was chosen!

Russell Crowe makes for a perfect choice as Noah and demonstrates just how memorable he can in this type of movie. Through Crowe, he wonderfully sums up Noah’s fighting spirit and determination in the face of adversity. Though skillfully in the final sector, he brings a more darker and crazier side to this character as he strives to finish the job he started, no matter what the consequences! Ray Winstone makes for a goods nemesis as the bullying and power crazy Tubal-Cain and as he lurks in the trees with his large army, we can sense Noah has an almighty battle on his hands for the ark! There is also a brief but pleasant cameo from Anthony Hopkins as Methusalah, Noah’s grandfather who can bestow ‘special gifts’ and through his brief time on screen- Hopkins makes a great impact, plus his search for berries will raise a smile.

In the wake of all the different versions of this tale you may have read in a variety of childrens bible, Aronofsky’s Noah is a blockbuster of a very different kind and will make enthrall you as much as it baffles you. But the end result cannot be argued with and we are unlikely to see another movie quite like this one in 2014! Ever thought of taking up carpentry? Now might be the time, because who knows that man upstairs is planning next?

 

 

Losing My Religion: Review of The Name of The Rose

Classic from the Vault

The Name of the Rose (1985)

Director: Jean-Jacques Annaud

By Alex Watson

 

A murder mystery always makes for great and compelling viewing in cinema as our protagonist struggles in vain to find a killer and these stories have been going back as far as time remembers. One great example of this type of story is when in 1985 French director, Jean-Jacques Annuad adapted Umberto Eco’s Franciscan Monastery set novel The Name of the Rose– although he turned a few heads casting Sean Connery- the end result was to be a career high for many involved as a murderer with a cause skulks through the abbey!

Set in 1327, Franciscan monk William of Baskerville (Sean Connery) travels with his young apprentice Adso (Christian Slater) to Benedictine Abbey to assist with an investigation of their murder of another Monk. Soon after their arrival, more deaths are involved and each is more gruesome than the last. The only thing connecting these deaths is the deceased all had black marks on their thumbs. It becomes clear soon that there is a killer among them to is silencing people to keep a secret of the abbey well hidden- things are also not helped when William’s bitter rival Bernardo Gui (F. Murray Abraham) arrives with the Holy Inquisition!

The Name of the Rose is one of the most under-rated thrillers of the 1980’s and through icy cold air there is a haunting ambience to the abbey that is forever lasting and through this Annaud allows this compelling mystery to unravel itself and gives us one of the most interesting and thrilling mysteries on years gone by! Though the Monks are men of God- we can sense that the Lord has abandoned this abbey long ago and this exemplified when Adso points this to out William who calmly replies “Have you found any places where God would have felt at home?”

From the very moment of William’s arrival- there are suspicious stares galore and it is made apparent that the monks harbour some dark secrets and through a variety of grotesquely featured actors (deliberately done by Annaud for good effect), including a pre stardom Ron Perlman as demented hunchback Salvatore- all of them look equally suspect and do not take kindly to William’s question of their ways.  As the slow burning tale slowly reveals each shocking revelation, Annaud keeps us constantly hooked. But things are then given a major shakeup when Gui and the Inquisition arrive on the scene and immediately begin accusing innocents of heresy and then burning them at the stake!

One of the main arguments of The Name of the Rose is the conflict of religion versus rationalism and it becomes apparent that one of the monks believes laughter to be the work of the devil whereas Williams argues that it is in mans nature to laugh and enjoy laugh! Soon this argument forms one of the core aspects of the plot and it becomes apparent that there is a book missing from the library that one monk will kill to keep secret!

Sean Connery was not originally wanted as William and had to fight off competition from Richard Harris, Ian McKellen Michael Caine and Paul Newman to claim the role. His BAFTA win for Best Actor proves he was the right choice and his William is a great mixture of clever thinking and sly wit and throughout he makes a wonderful investigator who isn’t afraid to ruffle feather- no matter how high up they may be!  As Gui, F. Murray Abraham makes a memorably nasty villain and Gui is a man who seems to enjoy abusing the power his role gives him and from the moment he arrives, he is given a free reign to spread chaos!

Christian Slater in his first ever role holds the screen well as innocent novice Adso and it could even by argued that this is truly his story and his faith is shaken as he witnesses how brutal mankind can be! Slater after his great 80’s performances hasn’t been any near as strong since and in some way it is a shame as he is magnificent here. Also the narration of Dwight Weist as the older Adso deserves a mention and it sends a tingle through us whenever it appears!

The Name of the Rose is a movie that deserves a watch by fans of this genre because through the excellent direction of Annauld and Connery’s charismatic performance, this will rank as one of the most original thrillers you will ever see. Though do prepare for things to get gruesome because there is no holy spirit guarding these walls!

Faith & Courage: Review of The Mission

Classic from the Vault

The Mission (1986)

Director: Roland Joffe

By Alex Watson

The career is of Roland Joffe is an unfortunate tale because after being heaped with plaudits and prizes for his 1984 film The Killing Fields, his later choices would ultimately guarantee his exit from the mainstream with his critically mauled version of The Scarlet Letter starring Demi Moore and his bizarre decision to co- direct Super Mario Bros. But perhaps there is hope yet for the British director and what better way to remind ourselves than to re-visit his Palme D’or winning masterpiece, The Mission, a film which brought faith and the bigger picture into question.

Father Gabriel (Jeremy Irons) is a Jesuit priest who is building a mission South America but his efforts to make Christians of the Guarani tribesmen are constantly thwarted by slave trader Mendoza (Robert De Niro). But when Mendoza murders his brother Felipe (Aiden Quinn) in a fit of rage, Gabriel turns him towards faith and the once greedy man embraces Jesuit life. But their mission is constantly threatened by political intervention led by papal emissary Cardinal Altamirano (Ray McAnally) and the possibility of the colonies becoming enslaved looms nearer!

The Mission is a complex, but ultimately beautifully realized tale by Joffe and screenwriter Robert Bolt- a failure upon release in 1986 but it has since gained recognition as a true classic and with a legendary score by Ennio Morricone, shivers are sent down our spine. The story rather than following a central course follows three separate ones, the story of Gabriel’s steadfast faith to his cause and his eventual defying of church instruction and Mendoza’s conversion from being a man of violence to eventually a man of God.

Both lead characters are hard to define as people, Mendoza initially intentions are monetary based but after his fall from grace he reluctantly turns to Gabriel for help- the scene where he undergoes a great physical effort to prove his worth by dragging a bag full of armour on his back through the forests is truly heartbreaking and as his violent past is removed it’s hard not to be moved as Mendoza breaks down. But in the later stages Mendoza is seemingly at war with the world and becomes a fierce protector to the tribe.

Gabriel however is a character whose objectives are plainly clear, he will tend to his flock no matter what the cost, even if it means betraying his church, all throughout Gabriel is a saintly figure but in the closing stages as the Spanish soldiers close in, his self sacrifice make him into a martyr type figure.

The third narrative of The Mission concerning Altamirano (who also narrates proceedings) casts a grey sky upon proceedings, the Cardinal has been sent to evaluate and eventually close the missions due to political pressure, normally this character would be the villain of the piece but through the constant haunted look on his face we know the man wants to do the right thing but is ultimately powerless to intervene which will all but guarantee enslavement for the tribesmen. His conflict is beautifully summed up in one scene where he is grilled by both Gabriel and the tribe as to why God has changed his mind and is casting them out from the mission- the Cardinal looks over people who the Jesuits have turned to faith and narrates “I still could not help wondering whether these people would have preferred the sea and wind had never brought us here.”

Robert De Niro gives one of his most under-rated and physically expressive performances as Mendoza and his convoluted personality makes him memorable. Through restricted words, De Niro makes the man’s actions count and this pays off at the films climax as Mendoza battles for the beliefs he has gained.

Jeremy Irons is likewise impressive as Gabriel and he gives the film’s most passionate performance and his gentle portrayal of a Jesuit trying to hold the fort together is powerful and leaves a lasting image. But it’s the late Irish Actor Ray McNally (who died in 1989) who leaves the biggest impression as conflicted Altamirano and through his marvellous narration our hearts become heavy.

It’s disappointing that Joffe’s career hasn’t quite continued the trend of his early promise, but his mid 80’s work will never be forgotten and has brought us some of the most dominant and poignant moments of cinema in the last 30 years. The Mission may be a tricky story to contend with, but its performances alone are reason to see this film. Roland we hope to see you again soon!

Life During Wartime: Review of Les Miserables

Les Miserables

Director: Tom Hooper

By Alex Watson

It’s hard whenever you pay a visit to the west end in London not to spot a production of Victor Hugo’s Les Miserables, its tale of hardship, love and spiritual redemption during the French Revolution has captured hearts everywhere and had people humming its addictive songs for many years to come. There have been many versions film version of this musical, most recently in 1998 starring Liam Neeson, Geoffrey Rush and Uma Thurman. But none have truly been identified as an iconic adaption. This year director Tom Hooper after his heroics on The Kings Speech brings us his version of events, but will it be the one that stands out or just be seen as another failed attempt?

Convict Jean Valjean (Hugh Jackman) has been imprisoned for over 19 years for stealing a loaf of bread but has now been paroled, but upon release he find himself under the watchful eye of cynical Jalvert (Russell Crowe). Scorned by many upon release, Valjean becomes increasingly bitter until he is shown kindness by a priest and from there Valjean vows to start a new life! While becoming a better man he will come into contact with desperate mother Fantine (Anne Hathaway) and when he takes in her daughter Cosette (Amanda Seyfried), Valjean finds a new reason stay a free man.

Les Miserables will no doubt be one of the most stunning visual pieces of the year; from the very beginning as we see convicts of Toulon prison heaving a waterlogged ship in the pouring rain and heavy waves back to dry land and when ‘Look Down’ begins to play its hard not to be truly amazed! The set design is abundantly designed and brings the Revolution era to life- including a stunning final shot of Valjean, Fantine and the other resistance upon a barricade looking upon the royal palace!

The singing of dialogue will come as a surprise too many who have never seen the musical before, but through the live singing on show it adds to the films poignant feel and in many ways says more than normal voices ever could!

Valjean’s story is the force that carries the film along, when we first meet him he is a man who is looked by others as nothing but trouble, as he is first released he begs Jalvert to respect him as a human- only be dismissed mockingly by his jailer. His desperate turns almost animal when he ventures into the free world, but in Les Miserables most emotional scene, Valjean vows to re pay the faith shown in him and this gives the film its redemptive feel and from there he grows into a loving man.

Jalvert is another ever present throughout this and his dedication to law and capture of Valjean is steadfast, although the classic villain of the story, his confusion of the morals he keeps in the later stages gives him a more human feel as begins to realize that there is more to people than being cops or criminals! But its Fantine’s story that really pulls at our hearts as she is hit with constant bad luck and hardship while trying to provide for her child. Here we see a woman literally stripped down to her bare elements in life and whose dreams of love and happiness have long since faded and as Hathaway sings ‘I Dreamed a Dream’ tears are bound fall from people’s eyes!

Hugh Jackman makes good use of his stage past and rings in Les Miserables strongest and most touching performance and through his fantastic singing voice we hear and feel all of Valjeans frustrations, hopes and feelings and fully earns his Best Actor nomination at the Oscars. Not known previously for his ability for straight acting, Jackman show us another side to him which makes us excited for future performances!

Russell Crowe provides great presence as villain Jalvert and through his steely edge; Crowe personifies the man’s rigid nature and his inability to see between the lines of men! Anne Hathaway however, is the one who steals our hearts as the doomed Fantine. Through her brief role she gives a magnificent vulnerable performance and her appearance will be the lasting image in our minds as we leave the theatre!

Whether or not you’re a fan of the musical is not important because Les Miserables is a film worth discovering and through this a new hope for the original musicals on screen. Tom Hooper’s superb direction ensures that this film will be the most fondly remembered of Victor Hugo’s tale, so go see it and let your heart be pulled in several directions. Also I guarantee you will be singing ‘Look Down’ for days after this!

2012: A Year in Review

2012: A YEAR IN REVIEW

By Alex Watson

It has been an interesting year for film, and we have seen all kinds such as Tom Cruise belting out Bon Jovi in Rock of Ages and climb the Burj Khalifa single handed in Mission Impossible: Ghost Protocol. We’ve also been witness to a magnificent viral campaign for Prometheus where the result didn’t properly match the hopes for Ridley Scott’s return to the Alien Universe and we’ve also delved into dark territory in Werner Herzog’s Into the Abyss. There was a sad end of one saga in Chris Nolan’s The Dark Knight Rises and the triumphant beginning of another in Avengers Assemble. But overall there has been some magnificent viewing in 2012, here is my end of year review.

 

TOP 10 FILMS OF 2012

1.   Argo (USA/Dir: Ben Affleck): This year the former Bennifer truly shed his past and delivered us the most exciting and nerve jangling thriller of the year. Set against the backdrop of hostile 1979 Iran, this gave us the story of one man and his bold idea to make a fake movie so real, it would save the lives of six others. Thanks to Affleck’s stunning direction we had a movie with a heart and determined soul!
2.  The Raid (ID/Dir: Gareth Evans) The combination of Welsh director Gareth Evans and Indonesian martial arts star Iko Uwais gave us the most entertaining and pure thrilling action film of the year. When a team of cops in Jakarta become trapped in a drug lord controlled tower block, they discover all 30 floors are filled with blood thirsty killers, the adrenalin rush goes into overdrive and this never relents. We have a fascinating new pairing on our hands.
3.    Sightseers (UK/Dir: Ben Wheatley): Up and coming British director Ben Wheatley gives us the most raw and funny picture this year and through the brilliant naturalistic performances of star Steve Oram and Alice Lowe we were given the British equivalent of Badlands, just remember who you tick off when visit your next campsite- it can be fatal!
4.   The Imposter (USA/France Dir: Bart Layton): This film was 2012 most shocking documentary and we were given the story of a French con man who out of desperation pretended to be the missing teenager of an American family and was readily accepted! Watch it and let your jaw hang loose while this unbelievable tale is played out!
5.  Shame (UK/Dir: Steve McQueen): The first film ever reviewed on Closer to the Edge was also the most explicit and heartbreaking of the year. With great performances by Michael Fassbender and Carey Mulligan, director Steve McQueen gave us a powerful example of  a sex addict who is struggling with his compulsions and gradually his perfect world is coming apart.
6.  Silver Linings Playbook (USA/Dir: David O Russell); Jennifer Lawrence and Bradley Cooper both give charming performances in one of 2012 most offbeat comedies. David O Russell skilfully masterminds the theme of mental illness and gives us a brutally funny and also heart warming tale of two troubled folks who find love in the strangest possible circumstance!
7. 7.       Skyfall (UK/USA Dir: Sam Mendes): Of all the blockbuster’s filmed this year, Daniel Craig’s return as 007 was the most entertaining of them all and gave us some the year’s best action set pieces (including a thrilling opening ride through Istanbul). But of all the recent Bond film this one had the most emotionally driven core and we got to see Bond at the crossroads of life. With a great Baddie turn from Javier Bardem, this made for compulsive viewing.
8. Rust & Bone (FR/Dir: Jacques Audiard): One of the year’s top foreign films boasted a stunning central turn from Marion Cotillard as a woman whose live is changed forever and find solace in the most unlikely man possible. With top support from Matthias Schoenaerts and Jacques Audiard’s brilliant directing, we are given one of the years strongest films and contains a passionate love theme that pulls our heart strings hard.
9. Looper (USA/Dir: Rian Johnson): The hype about Rian Johnson’s follow up to Brick was one that was truly worth it, because the man has produced the most intelligent and thought provoking sci-film of this decade so far, Joseph Gordon-Levitt and Bruce Willis excel as the junior and senior versions of the same man who are both trying to atone for past and future mistakes they have made. This will require numerous viewings to understand its concept and they will all be worth it because this one of cleverest films your likely to find.
10. The Master (USA/ Dir: P.T Anderson): After a long wait, PT Anderson finally made his return to the screen and along with him so did Joaquin Phoenix- and it was worth the wait! Anderson brings us one of the most stunning visual films of 2012 about a disturbed man trying to find his way, and ultimately falling into the wrong crowded. With superb performances by Phoenix and Philip Seymour Hoffman, it was a welcome return for Anderson!

BEST OF THE REST

• The Dark Knight Rises (USA/UK Dir: Christopher Nolan) The finale of Chris Nolan’s Batman saga was a truly worth one and featured Christian Bale at his very best and also gave him a tough test in Tom Hardy’s hard as nails villain Bane. The thrilling battle of Gotham finale presented us a blood pumping last act! I wish the best of luck for the next man who is brave enough to reboot this series!
• Marley (UK Dir: Kevin MacDonald): A fascinating view of the life of one of music’s best loved stars, Bob Marley. Your knowledge of the man is regardless because we are given a brilliant account of his hard up bringing in Kingston, Jamaica and his rapid rise to top of music. If you’re not singing ‘No woman, No Cry’ by the end credits then hang your head in shame!
• Avenger’s Assemble (USA/ Dir: Joss Whedon): Another of the yea’rs most entertaining films and a pure fanboy’s delight as Marvel’s finest came to together to stop the tyrannical evil of Tom Hiddleston’s Loki, Robert Downey Jr, Chris Evans and Mark Ruffalo among others made an awesome team- come back soon fellas!
• The Hunger Games (USA /Dir: Gary Ross): Jennifer Lawrence shines in the Gary Ross’ adaptation of Suzanne Collins’ beloved children’s novel. Be warned- Twilight this film isn’t and the theme of a society desensitized to violence as kids from different districts fight for survival is as shocking as it is entertaining. This is probably the closest we’ll get to a western Battle Royale.
• Anna Karenina (UK / Dir: Joe Wright): The adaptation of Leo Tolstoy’s 864 page novel could have been one of years hardest viewings. But instead we are given a visual stunning and heart rendering film, with a star turn from Keira Knightley as the doomed Anna as she sets tongues wagging in Imperial Russia as her sordid affair with Aaron Taylor-Johnson’s Vronsky plays out.

 

MALE STAR OF THE YEAR- TOM HARDY: This year the British actor took centre stage and delivered us a series of memorable turns in This Means War, Lawless and became Bruce Wayne’s biggest problem in The Dark Knight Rises. With his roughish charm, Hardy is an actor of multiple talents and has a presence of screen that is undeniable, it would seem we have a new star in waiting.

FEMALE STAR OF THE YEAR-JENNIFER LAWRENCE: With her stunning and tough performance in The Hunger Games and her bizarre yet endearing turn in Silver Linings Playbook are evidence enough that this woman is the most exciting young female talent in film today and this year she has stolen our hearts. No doubt the awards season will see her name mentioned numerous times and in future this will be a name to get used because Lawrence is going to be a woman to beat!

DIRECTOR OF THE YEAR- GARETH EVANS (THE RAID): The Welshman grabbed our attention for all the right reasons with his breathtaking execution of Indonesian film The Raid and his skilful handling of proceedings gave us one of martial arts’ future classics. His next film can’t come soon enough and you have to wonder what him and star Iko Uwais are capable of next?

Scene of the Year- Stephanie Connects with her Killer Whale (Rust & Bone): The simplest yet heart rendering moment of 2012 came as Marion Cotillard gestured to an orca whale. Action here spoke loudest of all and the longing for Stephanie to return to her former life broke our hearts in two!

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!

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!