Under Cover of Darkness: Review of Night Moves

Night Moves

Director: Kelly Reichardt

By Alex Watson

 

Ever heard Kelly Reichardt? Well if you haven’t then that is a shame and now is the time to make amends. Her previous movies Wendy & Lucy and Meek’s Cutoff have proven to be excellent portrayals of the natural world and the people we come into contact with. This week the US director tackles a whole new issue, eco-terrorism. People commit acts of vandalism in the name of the ideas they believe in, but what effect come afterwards? These ideas and more are explored in Night Moves.

Three individuals Josh (Jesse Eisenberg), Harmon (Peter Sarsgaard) and Dena (Dakota Fanning) are plotting to blow up a hydroelectric dam as they are infuriated that world is becoming over-run with technology. Eventually after a few minor hitches, the plan is executed. But when they learn of a small but tragic event that followed, the three are thrown into a crisis of conscience. Soon they begin falling apart at the seams as suspicion takes over.

Night Moves is an excellent and terrifically slow burning thriller which benefits from the truthful direction of Reichardt. Smartly, this film benefits from the things we do not see or hear, when we first meet the heroes, their exact reasons for wanting to carry out this act remain ambiguous and their back stories are cleverly withheld from us. The lack of answers to the questions may frustrate some, but it also helps to create a magnificent sense of apprehension and Reichardt succeeds in creating a film that is wonderfully tense from using so very little.

The first half of the movie is a gradually moving affair, as we view the characters preparing for the task ahead and desperately attempting to keep a lid on things. One key scene shows Dena participating in a low key but unbearably nervous purchase of fertilizer.  But the after the mission is completed a heavy and paranoid edge is carried across. From there each character is has reached the point of no return and slowly doubt is thrown over their trust in each other.

Each character is different in themselves and their persona affects the movie in different ways. Josh is calm and calculative terrorist, never one to push things. Dena is drawn to him through this and his brooding both attracts and worries her. However, she does because involved in a troubling love triangle between the three men and seems more willing in the job when encouraged by the more radical thinking Harmon. All throughout we wonder what will bring about their downfall? There are whispers on the air that someone is talking and this thought will trouble us until the end credits.

Reichardt’s striking visual eye keeps the tension continuously flowing and for this the simplest devices are the most effective. The rumbling of car tires in the distance, headlights in the rear view mirror or even an awkward glance perfectly personify Josh’s jangled nerves. Also the electronic score by Jeff Grace combined with the beautiful and naturalistic cinematography by Christopher Blauvelt gives a haunting ambiance to Night Moves. The final shot however is one that is delightfully vague, so straightforward but at the same time could be all important- decide for yourself.

Jesse Eisenberg continues his great run of form as Josh, more subdued than his usual roles but nonetheless still electric. His serene approach in the films beginning is slowly replaced by a irrational thinking and leads to him beginning to unwind. Through Eisenberg this adds to the film tightening feel. Dakota Fanning also showcases what an impressive adult actress so is growing into with an understated turn as Dena- a girl both lovely but also growing to be a burden for both men.

Peter Sarsgaard is largely absent from affairs, but his presence is still noteworthy as the default leader Harmon. Sarsgaard in his limited screen time gives a great portrayal of a man who both lives and breathes under a life of darkness.

Night Moves will be one of 2014 most absorbing and gut stirring thrillers and Kelly Reichardt demonstrates why she is fast becoming an auteur of American Cinema. Best start watching her earlier work, because is one director we will hearing a lot more of in future years!

Night Rider: Review of Locke

Locke

Director: Steven Knight

By Alex Watson

 

Some filmmakers really can make entracing movies from the most unlikely scenarios- in 2011 Spanish director Rodrigo Garcia brought us ‘Buried’ which in simple terms brought us Ryan Reynolds trapped  in a box underground for 90 minutes fearing for his life, the result was unexpected critical acclaim! This year, director Steven Knight bring us the unusual tale of Tom Hardy driving to London and making phone calls in his movie Locke. On the surface this sounds nothing more than a vain art piece, but the story involved and the trailer campaign have sparked people’s attention and when you have an intense star such as Hardy behind the wheel, this might be time to sit up and take notice.

Construction foreman Ivan Locke (Tom Hardy) is a man on the verge of doing the biggest job of his career and has a loving family at home. But Ivan will risk all this when he makes a decision to drive to London on the eve of the job starting to oversee the birth of his child- the problem is however, the child is with another woman! Frantic phone calls will soon follow from family, co-workers and the new mother as Ivan gets closer to his destination!

Locke is a film which is excellently constructed by Steven Knight and he makes the use of the cramped cockpit space to give the audience a striking and utterly gripping story. The action on display is limited and we mainly just see Ivan behind the wheel and hear his phone constantly ringing, but the conversations heard slowly build up the tension as he drives towards the biggest error of his life. When he begins his journey, Ivan is a respected worker and adored father, but that all gradually disintegrates as he makes his choice to abandon everything. Knight demonstrates both a great visual awareness and a wonderfully tight script which makes the most of the tough setting- hard to believe his last movie was the terrible Hummingbird starring Jason Statham!

But perhaps the most stirring effect of this movie, is just how steadfast Ivan is to his decision and as things progress he never once shifts from his journey, no matter how heated things get. Throughout this movie he is bombarded by desperate phone calls from his boss (Ben Daniels) who continually berates and threatens him for potentially ruining this big project or his wife (Ruth Wilson) who reacts with understood pain to his difficult  confession and finally the mother of his child (Olivia Colman) who needs constant reassurance he will arrive for the big event. The people he speaks never once appear, but we feel their presence throughout.

In Locke can never exactly comprehend his reasons for throwing away everything, until we hear his imaginary conversations with his dead father- through these bitter and confrontational monologues, we get a glimmer into Ivan’s past and his intention becomes much more clear. Ivan is a man who we both admire and loathe at the same point, but his reluctant acceptance of his inevitable fate and desire to make amends steers this picture in the right direction.

In much a solo project, Tom Hardy, demonstrates just what a fascinating actor he can be and he delivers a performance of sheer power that keeps us hooked. Completely alone for 85 minutes, Hardy succeeds in elevating this movie, although his choice of a Welsh accent for this role does raise a few eyebrows. Closer to the Edge’s Male Star of 2012, Hardy is a brilliant talent on the verge of something remarkable- sign him up for the A-List already! Also keep ears wired for an array of great vocals such as Ruth Wilson as Ivan’s hurt wife, Sherlock’s Andrew Scott as put upon co-worker Donal and Bill Milner and The Impossible’s Tom Holland as his sons who urgently want him home for a football match.

You never would have thought that watching a man’s car journey could make interesting viewing but with Locke, director Steven Knight has brought us a movie that deserves attention and as the twists and turns keep coming, you will be desperate to see how this trip ends. But always remember, when making a life changing decision- think of the consequences.

 

One Fine Day: Review of Stranger By The Lake

Stranger By The Lake

Director: Alain Guiraudie

By Alex Watson

Meeting a stranger for the first time can be a fascinating experience because there is always the thrill of what could possibly happen mixed with the utter fear of the unknown! Very quickly we can enter into a relationship, but on occasion the things we do not know about the person we are drawn to can be a dangerous thing. French director Alain Guiraudie this week brings us a scintillating look at two male companions thrown into a situation that promised to have fatal consequences in his movie Stranger by the Lake.

Young man Franck (Pierre Deladonchamps) spends his days by a beautiful lake sunbathing at local cruising spot. Almost instantly he meets handsome stranger Michel (Christophe Paou) and the two are immediately smitten and engage in frequent sex! But one day, Franck views from distance his supposed lover commit what appears to a horrific act! Although terrified, Franck continues his liason, all the while aware of this could be one pairing that could be dangerous!

Winner of the Best Director award at Cannes in 2013, Alain Guiraudie’s Stranger By The Lake is one of the most stunning and spurring movies of this year so far! This piece may have made waves for it scenes of graphic male sex, these scenes play an integral part to later parts of the tale and those who stay with this movie will be richly rewarded because this one of the most tense experiences you will have. Although beautifully shot by Claire Mathon and containing perhaps the most beautfiul natural light and pitch black night, there is also a perilous and secretive feeling all around the island- particularly as we see Franck wandering through the bushes!

By limiting the action to the one lakeside location, Guiraudie has the perfect to let his story unfold. Events are slow to build and the early scenes of watching Franck and Michel swimming and making love will no doubt frustrate some and there is a very carefree and lighter feel to the beginning stage. But once Franck views what appears to be a murder in the lake- things are given a massive shakeup! From the story enters a murder mystery type event as Inspector Damroder (Jérome Chappatte) arrives to investigate the murder and Franck’s conscience is continually plagued.

The suspicions and fears that Franck has of Michel are gently raised throughout Stranger By The Lake because his lover becomes gradually more brusque and domineering as events transpire and tends to coldly disregard anyone no longer useful to him. Although given strict warnings from his platonic friend Henri (Patrick d’Assumcao) Franck continues their bizzare relationship. Part of the increasing tenseness comes from the events we cannot fully witness- often as we see Michel commit what appears to be a sinful act, our view is always obsured by trees or bushes and like Franck we fear to let our imagination run wild. But the finale set to the dark of the forest will see many leaving the cinema quietly concerned as we close on one of the most exciting shots of 2014!

However, this movie is much more than just strong sex and murder and alongside this, Guiraudie gives us a movie that perfectly explores humanities desires and longings and most of what it feels like to be lonely. Franck is greatly concerned about the jeopardy faced by loving Michel, but his yearning to be with him vastly outweights his concerns! Likewise divorcee Henri who harbours great desire to be with Franck, but concedes that he will never return his love!

The centre duo of Pierre Deladonchamps and Christophe Paou works wonders as through the cold yet seductive charm of Paou there is a chill brought to proceedings and he is able to bring across exactly the qualities which make Franck willing to risk it all for this one man! Deladonchamps also shines brightly as Franck and is able to convey a terrific sense of youthful naivity in the early scenes as he dumfounded by his luck at find this catch! But skillfully his lust turns to pure horror as his eye being to open to what is happening!

Stranger By The Lake is at times a tough movie to watch and some of its sexual content will make Blue is the Warmest Color look like a tame affair- but it is also a emotionally charged and chest tightening ride and we shall be hard pressed to find a film that draws us in more than this one for some months to come! Alain Guiraudie deserves all the plaudits gained and this movie that deserves a visit- but this will definitely make you think twice about who you approach in future!

The Hunt: Review of Prisoners

Prisoners

Director: Denis Villeneuve

By Alex Watson

 

Like goals by Lionel Messi, kidnapping and abduction movies come in great flurries every year and the results often vary in quality but one thing is always the same, the result is never pleasant to watch! Film such as Changeling dealt with a movie having her child stolen and the anguished caused over time whereas Michael Haneke’s Funny Games dealt with a family being imprisoned against their will and forces to play sick games to survive. This year Canadian director Denis Villeneuve bring us his showing of an American family on the verge of collapse in his movie Prisoners.

When his and another families’ child is abducted on Thanksgiving, father Keller Dover (Hugh Jackman) frantically searches but she doesn’t appear he calls the police. Detective Loki (Jake Gyllenhaal) is assigned to the case but still he cannot locate the girls. But soon after it appears they find the culprit in child like creep Alex Jones (Paul Dano) but when lack of physical evidence forces them to release him and anguished Keller kidnaps Alex and is then decided to take matters into his own hands to find his children!

Prisoners is a well acted and skilfully shot thriller and director Villeneuve shows real promised with his American debut and aided by some wonderful cinematography by veteran Roger Deakins, a wintry and rain swept Philadelphia gives the film a misty atmosphere that adds needed tension in key parts. The continual guessing is well established throughout and even though Alex seems to be the man they want to be the killer- the rug is swept from under us when it is revealed he has the IQ of a 10 year old! But as the slow burning story is play out, we know the villain is at large but we will have to think twice before we guess who it might be!

But even though things look great on paper, the plain and formulaic script by Aaron Guzikowski fails to elevate this film above your average Friday night thriller. The whole race against the clock concept as a whole works well and we continually question Alex’s guilt or innocence, but the story feels far too drawn out and we feel that a swifter conclusion might have served this better. Also the ending we are given feels a tad clique and many will feel that we should have seen this one coming from a mile away!

The characters themselves run into difficulty in Prisoners as although we sympathize with their pain, their actions gradually draw us away from them. Keller is a man who is on the edge- but when he kidnaps Alex, locks him in an old bathroom and beats the living daylights out of him- we begin to lose empathy for him! Asides from that he seems to do nothing else but shout at people.  Loki is a commitment detective and his butting heads with his superiors over the case does add some bite to the feel of the film!

Hugh Jackman does his best with the material he is given and he is successful in his portrayal of a grieving father wanting answers, but it doesn’t feel like a role that particularly stretches his abilities and even though Jackman as always is watchable- it won’t be seen as one of his vintage roles. Jake Gyllenhaal suffers the same plight to a degree as even though as Loki his excellent, again it does seem like a role that will rise his stock any further. One of today’s better rising stars, Gyllenhaal we know is capable of bringing a role to life but here he just isn’t given enough.

Of all the performances on show, Paul Dano is the one who rises highest and gives a mesmerising turn as alleged child killer Alex Jones- through his incoherent soft mumbles and his near blank expression, Dano makes us ask a thousand questions and his appearance is the element that makes this movie tick.

Prisoners is a movie that in the right hands could have been a very tight and tense thriller, Villeneuve’s movie is in no way a bad effort at all and he makes the most of the talented cast on offer, but this movie cannot shake the feeling that the after effect feels disappointingly thin.  But this will provide people with some decent entertainment and it will be interesting to see where Villeneuve’s name goes from here (let’s hope better than his racing counterpart Jacques)!

Lost in a Haze: Review of Filth

Filth

Director: Jon S Baird

By Alex Watson

 

In the mid nineties Irving Welsh’s novel Trainspotting was adapted into an influential piece of British cinema by Danny Boyle and as a result it flew the flag for the ‘Cool Britannia’ but ever since then is writing has been mysteriously absent apart from some versions of his less successful works in the late 90s. But this year, Welsh’s influence is back on our screens as director Jon S Baird brings across a tale of a troubled soul looking for all the wrong answers in Filth.

Detective Sergeant Bruce Robertson (James McAvoy) is a copper with a loose set of moral values and alongside that has an addiction to cocaine and alcohol. Gunning for a promotion to Inspector, Robertson considers himself first in line for the job and after being chosen to head up an apparent racist murder, things seem set in place. But in the midst of his investigating, Bruce’s troubled mind takes a worrying turn into darker territory as he indulges his addiction more- he begins to crack as a result!

Filth is a welcome return of Welsh’s material to cinema and this is thanks to its memorable protagonist Bruce Robertson who is makes for an unlikely hero on screen. As a man he is a detestable tormenter due to his apparent mistrust and hatred for the human race and at any opportunity Bruce preys on weak minded and any others he considers lower than him. For this he skilfully manipulates his work colleagues such as Ray Lennox (Jamie Bell) and he his pathetic and gullible ‘best friend’ Clifford (Eddie Marsan) whom he makes perverted sex calls to his wife Bunty (Shirley Henderson) sounding like Frank Sidebottom!

All the way through we have to take Bruce at face value and even though his acts such as deliberately stealing a kids balloon and releasing it and paying an individual to make his colleague look homosexual (which incites one hell of an incident) we amazingly hope that this man will gain some kind of a conscience. But during his coke induced hallucinations- there is a window in his soul as he speaks to his shrink eccentric Dr Rossi (Jim Broadbent) and this could almost be seen as his confession of his crime and we begin to wonder just what has driven this man to become the mess we see before us, as Bruce says whilst coming down from a high “I used to be a good man”

The final act however is where Filth does lose a few brownie points a Bruce goes from being a casual abuser to a follow blown madman- Bruce’s grip over his people has slipped and he absolutely hates it, but in trying to reclaim it his actions become increasingly erratic and the tone of movie takes a gloomier and more psychedelic tone. But in doing this the final ‘big reveal’ will not satisfy everyone because although clever, it does disappoint us somewhat but nonetheless it keep us thinking!

James McAvoy feels born to play troubled copper DS Robertson and this role feels like the flipside of his role in Welcome to the Punch and as the antihero he gets a meaty role to sink his teeth into and his presence from the very get-go dominates the film. But around him is a fine supporting cast including film regular Eddie Marsan who is superb as his naive bestie Clifford who although is driven to the point of destruction by Bruce, never once clocks on to his schemes!

Jamie Bell, Gary Lewis and Shirley Henderson are all fine in their respective roles but its the bizarrely Australian accented Jim Broadbent as his Dr Rossi who stands out most as his presence both amazes and terrifies us at the same point as he gradually chips away at Bruce’s arm until his mind falls to pieces!

Filth proves there is life yet in the works of Irving Welsh and this film is probably as close as he has come to hitting mainstream cinema and Bruce Robertson will no doubt go down as the one of the more fascinating character pieces of this year if not the history of British cinema. Also if you ever wanted to kick the habit and keep your mind stable- this film will provided the key!

Ride of Your Life: Review of Collateral

Classic from the Vault

Collateral (2004)

Director: Michael Mann

By Alex Watson

 

A hit man is a character which always brings an ice cold chill to any film and some of the most impressive modern day film characters have been hit men such as cold and conflicted killer Leon, ruthless Anton Chigurh in No Country for Old Men and neurotic Martin Blank in under-rated comedy Grosse Pointe Blank. But there is one killer that has still the ability to un-nerve us and it comes in the form of contract killer Vincent in Michael Mann’ s tense thriller Collateral which would provide us with one of the most suspenseful taxi rides of the 21^st century!

Cabbie Max (Jamie Foxx) is a man who has big dreams of owning his own limo company, but after 12 years of being stuck driving a taxi around Los Angeles, his hopes are beginning to fade! But his life will change in one dramatic night when Vincent (Tom Cruise) steps into his cab and offers him $600 to make five different stops before he has to catch a 6am flight out of LA. But quickly what supposed to be a straight forward job turns into a nightmare as Max quickly realizes Vincent a hitman and he will have to remain calm to survive.

In Collateral, Michael Mann once again makes the City of Angels his own with another well constructed and gripping thriller. By shooting in digital film and setting the majority of the action to the confines of cab works wonders for this because under Vincent’s steely gaze, Max has no escape from the horrendous events that follow! There is a calm start to the movie as we see Max going about his business and Vincent arrive in LA and as he commandeers his cab, we feel that we are being set up for an odd couple scenario. But when the first of many murders occurs it gives us a mighty shock to the system!

The pairing of Max and Vincent provides the beating heart of the movie and both are literally polar opposites, Vincent is the very definition of a cold blooded killer and upon killing his first victim Max cries out that he has kill him only for Vincent to retort “No I shot him, the bullets and fall killed him!” also without words he continually reminds Max of the grim fate awaiting him should he disobey, in one scene he visits his prisoners mother in hospital and pretends to be his friend! Max however is no fool and his character possess a clever edge as he continually looks for an exit and gradually he begins to push back against Vincent’s domination and becomes more assertive as events go on.

No one does a finale better than Mann does and the one given in Collateral is truly memorable as no matter what does to be rid of Vincent, this man keeps coming back and nothing will stop him from completing his mission, even if it means killing Max! What are given is a breathtaking game of cat and mouse which will conjure up memories of the airport finale of Heat as Max attempts to escape his foe on the metro train leading to a conclusion that will divide many!

The side story of LAPD Detective Fanning (Mark Ruffalo) being on the pairs trail is a nice addition as it adds another side to Mann’s film and as he continues to close the gap as the bodies stack up.

Jamie Foxx grabbed an Oscar nomination for his impressive turn as Max and it was well deserved as he character goes from being a meek and reluctant accomplice to fighting back and growing a set which frustrates Vincent’s plans! But it’s Tom Cruise who should have been rewarded as he turns in career best performance. Playing against type, Cruise’s silver haired assassin sheds all traces of charm and is just down to business all the way through and this cynical performance will shock many of the his fans but it proves just what this man is capable of with the right material. Also look out for a blink and you’ll miss it cameo from Jason Statham in the beginning.

Michael Mann’s Collateral proves just what a masterful director he is and under the neon night lights of Los Angeles, he brings us one of the best thrillers of the last ten years. Just remember in your next taxi ride to tip your driver handsomely, lord knows who his next customer will be!

Are You Watching Closely: Review of Now You See Me

Now You See Me

Director: Louis Letterier

By Alex Watson

 

Films about magic always aim to show us the dazzling effects of a great magic trick and at the same time reveal to us the secrets the lurk behind the curtain. But sometimes the art of creating a truly great magic trick can come at the ultimate cost as we have learned in film such as Christopher Nolan’s The Prestige but as we watch the tricks being played out, we are always impressed! This week we a unique set up as The Incredible Hulk director Louis Letterier shows us four magicians about to take on the show of a lifetime in Now You See Me.

Illusionists J.Daniel (Jesse Eisenberg), Merritt (Woody Harrelson), Henley (Isla Fisher) and Jack (Dave Franco) are selected by an unseen trickster to pull off a particular risky stunt and one year later in Las Vegas they succeed in robbing a Paris bank while live on stage! Soon FBI agent Dylan Rhodes (Mark Ruffalo) is hot on their trail with the aid of trick exposé Thaddeus (Morgan Freeman) but the gang has a number of tricks up their sleeves and bring them in will be no easy task.

For the most part, Now You See Me is an enjoyable ride and it makes the most of its set up, many will sneer that this is simply Oceans 11 with magicians and this may well be the case, but it still entertains nonetheless. The first act is done with relish by Letterier and as the four come together under eyes of their watchful creator it provides some great comedic moments such as when Merritt hypnotises a man’s wife then reveals to her hubby’s darkest secrets and then promptly blackmails the guy into paying for him wipe her memory!

Then in a dazzling magic show they pull off the ultimate magic trick leaving the cops utterly baffled, but no matter how hard Rhodes and co seem to give chase, they always seem to be one step ahead! Plus even if they do bring them in, there is no guarantee any charges will be brought! The sheer astonishment of each clever trick they conjure up holds our attention early on and there are some clever moments to be had such as entertaining fight scene between Jack and Rhodes were the young magician literally uses all the tricks in the book to keep the lawman at bay.

Shame really that the second half of Now You See Me doesn’t have the same energy up its sleeves and it is let down by a series of barely believable twists and after a time this begins to wear on the film. But mainly people will come out shaking their head in disappointment of a rather flat finale where the big reveal is one that is frankly… rather ridiculous and will leave people a little bewildered.

The main four pairing of Eisenberg, Franco, Harrelson and Fisher is one that works remarkably well as each one is able to bring something unique to the group and as the centre piece they shine brightly! Mark Ruffalo however is stuck with a rather joyless character and Rhodes just seems determined to ruin everyone’s fun, though his character does become more interesting later on!

Morgan Freeman is as usual saddled with a very Morgan Freeman character and Thaddeus is a wise cunning old sod, but the his use runs out quite quickly and after a time we being to grow weary of his exposing tricks with simple explanations. But he is given more to do than Michael Caine who isn’t given anything near worthwhile to do and his character is one that could have really bolstered the villain stakes, but he seems to be nudged aside before things get all interesting!

Now You See Me is a very stylish experience and the glittering effects divert our attention for the creaking story beneath it, this film will impress us in patches but in due course this feels like an opportunity that wasn’t expanded on because in the rights this could have been one of the coolest heist thrillers of the year. The tricks impress us but sometimes the greatest magic trick can leave you feeling slightly cheated!

Day of Reckoning: Review of World War Z

World War Z

Director: Mark Forster

By Alex Watson

When a zombie movie rolls into view we always expect the usual things to be included and those things are plenty of suspense, buckets of gore as the people fight back against the living dead and most importantly a touch of humour that did film such as Shaun of the Dead so well. This week American director Marc Forster brings us Brad Pitt trying in vain to save the world from another deadly infestation in his adaptation of Max Brook’s novel, World War Z.

Retired UN Investigator Gerry Lane (Brad Pitt) is looking forward to a nice holiday with his wife Karin (Mireille Enos) and two kids. But when they are stuck in traffic, a sudden zombie epidemic breaks out forcing them to run for their lives! Soon the devastation becomes worldwide and the existence of the human race is under threat. Gerry heads to Asia in search of a cure but he remains nervous about the results he will find and most of all is there any cure to this spreading disease?

While it has its splendid moments of shock and provides great entertainment, World War Z is a film that doesn’t quite hit the mark that we expected. It begins smartly and rather than follow tradition with an overly long build up, Forster chooses to jump straight into the action with the Zombies attacking on a normal day and families run for dear life along the streets of Philadelphia! This presents us with a thrilling opening sequence where the tension is pushed to maximum as Gerry and family play hide and seek through a darkened corridor as the moans the Z-men echo creepily in the background!

But while it has many immense moments that make squirm in our seats (such as when Gerry forgets to turn his phone off while trying to sneak through a zombie filled zone) and our hearts are bound to stop numerous times, the story doesn’t quite have enough to carry the movie and seems a little to concern with Gerry’s investigation and despite a mildly interesting trip to Israel where microphone singing refugees the scenes where he travels to various locations present us with interesting facts but ultimately will leave die hard horror fans a little disappointed with the lack of combat involved or more likely the lack of Zombie related attacks.

Also the ending we are presented with is a little flat on the ground, it starts well enough as Gerry and co face terror on an economy flight and literally becomes the man who fell to earth, and as our group walks yet another corridor looking for the thing that could cure us, it promises something grandstand. But sadly its resolution will leave many wishing aharder tone had been used and its voiceover leaves the door open for a likely sequel.

Brad Pitt is his usual watchable self in this film and he brings a touch of class to World War Z as die-hard family man Gerry, but this isn’t a role that truly stretches his abilities and feels like a walk in the park for talented Pitt. But he holds the screen well and proves once more he can be the best thing about any film he is involved with.

Aside from Brad, there are no other characters that really stick in the mind and Mireille Enos once again gets short changed in the underused wife role which simply requires her to answer a phone from time to time. There are also blink and miss appearances from Matthew Fox, James Badge Dale and criminally David Morse, whose cameo as a strung out CIA man has the potential to be as creepy as the zombies, but tragically he’s gone too soon!

Although World War Z doesn’t quite match the gritty expectations its excellent advertising campaign brought us, it is still a pleasurable couple of hours and will guarantee you to leave your seat more than once! If the proposed sequel ever arrives, we can only hope it will bring us more war scenes than on display here- the world is waiting for you to save us Brad!

Let The Bodies Hit The Floor: Review of The Iceman

The Iceman

Director: Ariel Vromen

By Alex Watson

 

Michael Shannon’s rise is continuously on the rise and he has now gone from being a familiar face in big movies to a having a presence that makes people want to stand up and pay attention, after his brilliant Oscar nominated turn in Revolutionary Road and his mesmerising role as overtly religious Prohibition agent Nelson Van Alden in HBO’s Boardwalk Empire, Shannon seems to have finally arrived! His next role is one which has big promise for him as notorious hit man Richard Kuklinski in Ariel Vromen’s, The Iceman. With his impressive hardened stare, this promises to be a role that could mean great things.

The film tells the tale of New Jersey hit man Richard Kuklinski (Michael Shannon), a man with a gruesome past who while employed by Roy DeMeo (Ray Liotta) of the New Jersey mafia murdered over 100 to 250 people over several decades! But as the years go on he struggles to keep his work and his life apart from his wife Deborah (Winona Ryder) and eventually lines will be crossed and will lead to his downfall.

The Iceman is a film that has great potential and if handled correctly it could well have been one of the most thrilling biographic films this years, but unfortunately it doesn’t realise the potential that it has and because of it the film never quite fires on all cylinders and we come away never really knowing Kuklinski like we should. Vromen sets things up nicely in the opening scene as we see a shy young man having coffee with the woman who will become his wife and it gives him a likeable quality- but when his dark side is released it makes proceedings all the more shocking!

Bizarrely his criminal life fails to hold the main interest throughout this film and even though we see him ‘wacking’ people at will through variously bloody and violent acts, the stand out being killing James Franco’s lowlife as he prays for God to help him, as the bullets make a hole, Kuklinski’s coolly states “I guess God’s busy now!” but aside from this, there is little to add in this overly familiar gangland drama and Vromen seems intent on simply providing a body count rather than anything of intrigue.

With Kuklinski, we are crying out for some digging into this back-story but we only get the faintest glimpse of what could have planted such a bad seed through a scene stealing cameo from Steven Dorff as his jailbird brother who recounts some sinful acts that took place when they were young cubs.

Kuklinski’s home life is where The Iceman really succeeds and as he plays the dual role of dutiful husband and cold blooded killers, the suspense at times becomes unbearable as Deborah is repeatedly suspicious of her husband’s ‘currency exchange’ job and secretly wonders where the money is coming from- particularly when mob men haul Richard out the house on his daughter’s birthday!

But the real anchor of the film comes from Michael Shannon’s standout performance as man monster Richard Kuklinski and he through his sheer force he dominates the movie! But the movie doesn’t seem able to match Shannon and seems content to fall back on his great acting, with his upcoming role as General Zod in Man of Steel; it appears that Hollywood has found a new actor could well provide something truly special in the future!

But even though Winona Ryder does her best and gives a nice supporting role as his long suffering wife Deborah, this is very much Shannon’s show and even with decent cameo’s from Chris Evans, Ray Liotta and most surprisingly David Schwimmer as moustached mafia man, no one comes close!

The Iceman is a great showcase for the talents of Michael Shannon but with its subject it doesn’t go quite deep enough and leaves us with a rather vague portrait of a man whose killing figures still haven’t been fully confirmed! This could well have been one of the tensest and slicker thrillers of recent months but sadly its lack of directorial punch by Vromen gives this a limp after taste. But with its leading man, it is clear that we have a powerful new star for the future and possibly one of Superman’s hardest adversaries- Watch your back Kal-EL!

Vampire Blues: Review of Byzantium

Byzantium

Director: Neil Jordan

By Alex Watson

 

Vampire films these days have been met with a slight distain ever since the Twilight Saga introduced ‘shiny’ vamps to the world and of course lest we forget last year’s horror show that was Abraham Lincoln: Vampire Hunter where apparently the civil war was cooked up to stop the fanged fiends for running the country! But hope has arrived this year in the vein of Neil Jordan who garnered significant acclaim for his excellent adaptation of Anne Rice’s The Interview with a Vampire and this year he returns to vampire territory with his tale of a mother and daughter on the run from higher powers in Byzantium.

Eleanor (Saoirse Ronan) and her mother Clara (Gemma Arterton) are both vampires who have spent centuries on the run for a sacred brotherhood of vampires led by Darvell (Sam Riley). After they are forced to flee their latest home, the pair reaches a rundown seaside town. Whilst there Clara meets weak and love struck Noel (Daniel Mays) and she convinces him to allow her to turn his fading guest house Byzantium into a brothel. But all the while, the brotherhood is in hot pursuit wanting justice for a crime committed centuries back!

Byzantium is one of the darker Vampire efforts than we have become accustomed to and this serves the film very well and makes for a welcome return to the blood sucking genre for Neil Jordan. But interestingly unlike its predecessors, Jordan stays faith to Moira Buffini’s original play and gives fangless vampires and instead of necks being bitten, in this film we have a mystical island with a stone hut where the ones who wish to live forever enter- as they turn we see a waterfall turn the colour claret! These little touches give a new lease of life for the vampire genre.

The centre story of mother and child is one that is instantly engaging, in a beginning narration we hear Eleanor once again written out her story, which she will then have to scatter to the wind as no one can hear it! Being the daughter of a wild and carefree vampire causes its problems (particularly as mother tends to behead unwelcome corners) and she strives for a normal life. As she enters a relationship with a sickly teen Frank (Caleb Landry Jones) Eleanor yearns to tell the story she has constantly wrote down, but knows the problems that will occur if she does!

Their reasons for being so constantly on the run are initially unclear but Jordan allows the pairs back story to unravel slowly, as we learn their tale of Clara coming across Darvell in human form and not long after, being forced into child prostitution by seedy Naval Captain (Jonny Lee Miller) and her daughter being born as a result.  Clara’s turning to eternal life to rid her of a certain death in olden times poses a serious problem for the brotherhood, who strictly forbid women full stop- because of this, turning her daughter into a blood sucker will have dangerous consequences across the centuries!

Saoirse Ronan proves again that is one of the more exciting young talents of today with an appealing yet fragile turn in Byzantium as Eleanor. Ronan is able to convey a good sense of world weariness along with a girl who yearns desperately to be normal but knows she will never be able to fall into this category. Gemma Arterton also rings a fine performance as Clara; her seductive and free spirited performance is a great personification of the woman frozen in time but who has chosen to make the ultimate sacrifice for her daughter.

Disappointingly the talented Sam Riley is slightly underused as ancient vampire Darvell, his presence is one that is slick but always has a hint of peril surrounding it, although his back story makes for interesting viewing, more of his inclusion could have added to the films menace.

Byzantium is a solid effort by Neil Jordan and although it may not make critics top 10 lists later in the year, it will definitely serve as one of the better vampire films of this year and will give hope to all lovers of this genre! Be sure to remember if you ever become a Vamp in the future; don’t tick any brotherhoods off because it will mean a lot of wasted money on flat rentals!