Nocturnal Animals

Director: Tom Ford; stars Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron-Taylor Johnson, Isla Fisher. Ellie Bamber, Armie Hammer, Laura Linney, Andrea Riseborough.  99 minutes.

It has been six-years since Tom Ford directorial debut with his acclaimed first-feature A Single Man. It has been a long wait but his second feature Nocturnal Animals opened in UK cinemas last week and is a well-constructed, stylish yet brutal thriller. Art gallery owner Susan Morrow receives the draft of a novel written by her ex-husband, Edward Sheffield. Susan finds the novel both compelling and disturbing upon realising the narrative metaphorical of her relationship with Edward.

Ford’s flamboyant creativity is evident from the nauseatingly grotesque opening scene in which two excessively obese podium dancers gyrate in front of an invited audience, their flabby skin bouncing in all directions. One wonders whether this is a statement on waif-like fashion models or the imminent danger of overindulgence as the camera pulls back to reveal four motionless bodies laid face-down on marble slabs – the projected images around them an art exhibit in Susan’s gallery. Things are not what they seem is recurrent theme throughout the movie that skilfully weaves three interconnecting narratives – Susan’s dysfunctional marriage, the novels fictional narrative and Susan’s relationship with Edward.

The clinical, stylish interiors of Susan’s world is in stark contrast to the brutish, dust-infused outback where Tony’s family are terrorised. Cinematographer Seamus McGarvey drenches the rustic outdoor scenes in a sepia haze whilst infusing the extravagant city interiors with cold, impersonal detached isolation. The occupants of these living spaces, as opposed to those in Tony’s novel, do not appear to live but merely exist, albeit with an extravagant view of the Los Angeles cityscape.

Closeted in her splendid isolation Susan receives the draft of Edward’s novel, Nocturnal Animals, and becomes engrossed in Edward’s words, eliciting a duplicitous meaning from the story. The novel’s anti-hero, Tony Hastings, is incapable of stopping the abduction of his wife and daughter, constantly having his masculinity questioned as to his inability to protect his family. Jake Gyllenhaal, in a dual role as both the Tony and Edward, is called upon to emit conflicting emotions that the actors achieves faultlessly. In contrast to Tony/Edward is the larger than life detective Bobby Andes (Michael Shannon) whose virility overshadows Tony. Amy Adams gives a sensitive, nuanced performance as Susan, a woman battling with her inner demons whose emotion hides beneath the surface. This is a role that demands the actor express the deep and painful feelings through looks and movement rather than verbally, which Adams pulls off well. Laura Linney is a joy to watch as Susan’s rigid, ice-cold mother that she plays thoroughly inhabits.

Ford, who adapted the screenplay from Austin Wright’s novel ‘Tony and Susan’, creates a compelling drama that skillfully interweaves the fictional narrative of Edward’s novel with the background of their relationship and Susan’s current predicament. It is a multi-layered drama in which not all is as it seems with meaning behind every image. The cracked screen of Isla’s mobile phone not only shows the fractious state of Susan’s marriage to Hutton but also hides a much darker secret. It is a movie that leaves you with many questions the answers to which, on reflection,  are plain to see. “Nobody get’s away with what you did. Nobody!”

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Julieta

Director: Pedro Almodovar; stars Emma Suarez, Daniel Grao, Inma Cuesta, Adriana Ugarte, Rossy de Palma, Dario Grandinetti.  99 minutes.

Julieta marks Almodovar’s second decade directing feature films. Coincidentally it is also his 20th feature film. Julieta is in sharp contrast to the high-flying camp comedy I’m So Excited (Los amantes pasajeros) released in 2013. This comedy was Almodovar trying to be his old cheerful, over-the-top, dirty-minded self – the narrative littered with sex, drugs and inuendo. It is a throwback to his earlier outrageous, black comedies and sits uncomfortably within the directors recent oeuvre during which the director crafted his finest work that includes  All About My Mother (1999), Volver (2006) and Talk To Her (2002).

Julieta is Almodovar back on top form with a narrative as nuanced and complex as any Hitchcock drama. Julieta is arranging to leave Spain with her partner Lorenzo who is unaware of the split between Julieta and her daughter, Antia, twelve years earlier, during which time Julieta has had no contact or knowledge of her daughter’s whereabouts. By accident she encounters Bea, who was her daughter’s best friend and who informs Julieta of her recent encounter with Antia. Thrown into despair Julieta cancels her plans to leave with Lorenzo and moves back to her old apartment in the hope that her daughter will return. By day Julieta scours the streets of Madrid, while in her apartment she writes a letter to Antia, explaining events that lead to their separation.

Exploring complex issues of estrangement, grief and loss Julieta is comparable to Talk to Her and Volver, with the narrative firmly focused on Julieta’s journey. While there are several amusing moments this is drama and not comedy with illness and death affecting several characters, so much so that I wondered whether the director is contemplating his own mortality!

As Julieta, Emma Suarez is remarkably nuanced and measured emoting the pain and fragility evident through her circumstances. Almodovar is a master at gaining extreme emotion from his actors. Julieta Serrano’s devastated scream at the end of Dark Habits (1993) echoes from the depths of her soul and has to be one of the most searing, gut-wrenching moments in cinema. Here it is as Julieta sees Lorenzo and staggers into the road, pain and desolation etched into her face. There is no sound, no scream but from her movement, her expression, her pain is evident in what is one of the most powerful scenes of the movie.

Almodovar ensures that the focus firmly remains on Julieta. There are no marginal characters such as Agrado (All About My Mother) to distract attention. That said he still explores issues of adolescent sexuality in relation to Antia and Bea and, as if wanting to add his trademark statement, has an androgenous male appear in one of the opening scenes – blink and you will miss him. This is a film during which the director utilises every moment of screen time. At no time does the action ease or the narrative lose focus. My only criticism is that once or twice the Julieta’s voiceover is too lengthy. Rather than allow dialogue between Julieta and Xoan during their train journey the director has Julieta recount their conversation.

Of the many actors and collaborators Almodovar has worked with over the years only two appear in Julieta, Rossy de Palma as housekeeper Marian and Dario Grandietti as Lorenzo. Gone are the talents of the wonderful Chus Lampreave who died earlier this year. Lola and Esther Garcia, long time assistant and producer to the director who have also appeared in other films, are here along with long-time composer Alberto Iglesias whose musical score, as in many Almodovar films, captures the mood and detail perfectly.

Cinematographer Jean-Claude Larrieu demonstrates a wonderful eye for detail both while panning around the streets of Madrid or capturing the intense beauty of the Andalucian landscape.

Julieta is a powerful drama full of depth and meaning. Gorgeous to look at, extremely moving and exhilarating it demonstrates that, now in his mid-sixties, the maetro is still at the top of his game. A five-star treat.

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Pedro Almodovar: Overview

Prolific director Pedro Almodovar was the enfant terrible of post-Franco Spain throughout the early 1980’s. The unconventional director produced an early body of work that  challenged the repression of the Franco era in its expression of sexual liberation, promiscuity and drug use, liberating a generation from under the repressed control of Catholicism.

While his inspiration and style came from Hollywood’s screwball comedies of the forties his themes engaged terrorism, self-mutilation, infidelity, murder and rape – issues still relevant 30 years later. As an openly gay director Almodovar did not shy away from depicting lesbian, transgender and gay characters on screen in his movies. These characters were not stereotypical but three-dimensional, flawed, emotionally challenged and, in many cases, criminal. During the early 1980’s Pedro was not only developing his personal style but also pushing the boundaries of what was acceptable on screen, depicting a spanish culture that many found embarrassing and controversial.

Many were shocked, but for his increasing number of fans it didn’t matter that, as in La ley del Deseo (Law of Desire, 1987), his main character was unmasked as a predatory murderer who happened to be gay. It was a relief at last to see gay men depicted on screen who were neither camp or effeminate, their sexuality being just a part of who they were.

It was Almodovar’s farcical comedy Mujeres al borde de un ataque de nervios (Women on the Verge of a Nervous Breakdown, 1988) that would garner the director worldwide recognition, especially in America, receiving the Oscar nomination for Best Foreign Film. The trajectory of his filmography incorporated the melodramatic with Tacones Lejanos (High Heels, 1991) and, one of his finest and most underrated movies,  La flor de mi Secreto (The Flower of My Secret, 1995) before moving on to more serious dramatic confines with the masterly, Oscar winning Todo sobre mi madre (All About My Mother, 1999) and Hable con Ella (Talk to Her, 2002).

Reuniting with Penelope Cruz on Volver (2006) cemented Pedro’s reputation as a director who could constantly surprise. Then the tone of his films changed. Pedro changed direction, showing his serious, sombre side with Broken Embraces (2009) and The Skin I Live In (2011). Unlike All About My Mother, neither had  the humour that interjected more serious issues of death and mortality – these films were much darker in tone, gone was the madcap humour of his earlier films.

Possibly Pedro thought this darkness too overwhelming and decided this wasn’t a road he wished to follow and so he returned to his trademark style of camp, overly-indulgent comedy first seen in Women on the VergeLos amantes pasajeros (I’m So Excited) (2013), re-embraced the effeminate, madcap, drug fuelled world of his earlier films. Unfortunately it was not only the aircraft that was doomed to crash land – Pedro served up an assembly of one-dimensional characters as appealing as an in-flight meal. The film received mixed reviews – Almodovar could have done better.

What is without doubt is that the director’s finest dramatic work can be seen in Volver (2006), Todo sobre mi madre (All About My Mother, 1999) and Hable con Ella (Talk to Her, 2002). The director’s latest film Julieta (2016), starring Adriana Ugarte,  Rossy de Palma and Emma Suárez draws from themes and situations evident in these earlier films. This, the director’s 20th film, was released in the UK on Friday. That said, given Almodovar’s skill and cult status as a filmmaker the release of any Almodovar film is more often viewed as an event.

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Money Monster

Money Monster (2016) on IMDb

Directed by Jodie Foster; stars Julia Roberts, George Clooney, Jack O’Connell, Dominic West, Christopher Denham, Caitriona Balfe. Cert 15.  99 mins.

As director, Jodie Foster has had a rather patchy career that started with Little Man Tate in 1991. This was followed four years later with the comedy Home for the Holidays. Both films received mixed reviews and Foster’s skills as director faltered on several levels. Foster herself may have realised that, at this point in her career, directing was not her forte and subsequently waited 16 years before directing and starring alongside Mel Gibson in The Beaver. Dealing as it does with depression, not an easy subject to tackle, Foster maintains credibility and focus throughout, drawing a compelling, forceful performance from co-star Gibson. Alternating her acting roles Foster went on to direct one episode of Netflix political drama House of Cards and two episodes of Orange is the Only Black. 

In her fourth film as director Foster pulls out all the stops to deliver an engaging, well-crafted, tense thriller that deals with corrupt financial trading and how this affects investors. Money Monster is a TV show hosted by charismatic financial wizard Lee Gates (Clooney). Gates clowns around on set before dishing out investing tips to impressionable viewers eager to find the next big deal. When one of his tips goes bad, leading to the loss of $800m in one day, Lee insincerely jokes that some of his investors got their ‘asses-smacked’.

Cue down-on-his-luck Kyle Budwell (O’Connell) who gains access to the set and hijacks the show. Kyle, having lost his life savings investing in Gates dodgy deal, wants answers as to why the supposedly rock-solid deal went bad. Instructing Gates to wear a suicide vest Kyle airs his grievances live on air as producer Patty Fenn (Roberts) struggles to maintain control.

While Roberts and Clooney lead the movie it is an inspired choice to cast rising star Jack O’Connell as Kyle Budwell. Derby born O’Connell came to prominence as James Cook in TV series Skins which led to him being cast as a violent teenager moved to an adult prison in Starred Up proving his survival instincts. Surviving was the theme of his next movie ’71 where, as a young rookie soldier, he is deserted on the streets of war-torn Belfast. In both films O’Connell gives stand-out performances not to be misses and it was no surprise that the actor received the EE Rising Star award at the 2015 BAFTA ceremony.

O’Connell’s Kyle rages against the machine determined to get answers and expose a rigged system. It is a stance he knows could end badly. All he wants are answers. As usual with hostage dramas the police locate and bring in Kyle’s pregnant girlfriend, a plot devise that at first appears cliched develops against all expectation and had the guy next to me yelling ‘Oh, my God’ at the screen! Kyle’s emergence onto crowded sidewalks recalls that of Pacino in Dog Day Afternoon (1975) whilst the media background is reminiscent of, though no match for, Lumet’s Network (1967).

Foster’s film doesn’t doubt that money rules our lives but is an uneasy reminder of how little we know of what goes on behind the scenes. Entertaining and well worth seeing.

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Our Kind Of Traitor

Our Kind of Traitor (2016) on IMDb

Director: Susanna White; stars Ewan McGregor, Damian Lewis, Stellan Skarsgard. Cert 15. 107 mins.

Dima, a money launderer for Russian gangsters enlists College lecturer, Perry Makepiece and girlfriend Gail, a lawyer, to pass details of these transactions to MI6.  Dima fears for his family’s safety and in return for information wants to ensure safe passage for himself and his family to London. Perry and Gail find themselves drawn into Dima’s elaborate plot as intermediaries between duplicious MI6 Agent Hector and Dima.

There have been numerous film and television adaptations of John Le Carre’s novels, the most recent being The Night Manager (BBC), A Most Wanted Man and Tinker Tailor Soldier Spy with Susanna White’s thriller, Our Kind  Of Traitor being the latest big screen adaptation. Le Carre’s novels are both complex and detailed and one problem of adapting them into a two hour movie is that justice isn’t given to nuances and character development. This is why the six-part BBC adaptation of The Night Manager worked so well as the extended running time allowed for the gradual development and relationships between characters to emerge. Serialised dramas, unlike feature films, are able to more closely follow the trajectory of the novel, enabling plot points, laced with elements of surprise, to be subtly developed.

While director Susanna White effectively maintains the tension throughout the film, especially during the escape sequence, overall development of the plot is unengaging, cliched and bland. What is expected of espionage thrillers is a fair amount of double-dealing, subterfuge and surprising plot twists but here events are as predictable as a warning note slipped under the door. Actions meant to surprise lose their shock potential as they are too obvious and the giveaway mobile phone call from the hideout is both weak and unimaginative.

Perry Makepiece is far too gullible and unbelievable as the college professor drawn into Dima’s plans and credibility is stretched when his educated, lawyer girlfriend Gail willingly becomes entangled in the plot. What saves the movie from being totally mundane are the two central performances from Stellan Skarsgard as Dima, the Russian money launderer and Damien Lewis’ duplicious MI6 agent, Hector. Dima and Hector are credible, resourceful characters whom Skarsgard and Lewis endow with depth and complexity of character. Ewan McGregor’s performance appears laboured and lacks conviction, possibly too much globe-trotting with sidekick Charlie Boorman! Makepiece comes across as a lame duck rather than the hero of the piece.

Cinematographer Anthony Dod Mantle is allowed free reign and delivers some lush photography, especially the climatic showdown in the French Alps that has overtones of Hitchcock’s North by Northwest. Overall one of the lesser LeCarre cinematic adaptations.

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Florence Foster Jenkins

Florence Foster Jenkins (2016) on IMDb

Director: Stephen Frears; Starring: Meryl Streep, Hugh Grant, Simon Helberg, Rebecca Ferguson, Christian McKay, Nina Arianda. PG cert, 110 mins

Florence Foster Jenkins is a delicious comedy based on the life story of the New York heiress and socialite who lived with the belief that she was a great opera singer. Jenkins performances sold out faster than a Justin Bieber concert and her recorded works became instant collectors items. Not a bad record for a woman whose voice often resembled a wolf howling at the moon. Florence’s fame spread because of her commitment to her music that brought her joy and a purpose for living. It was a pleasure she wanted to share and nurture and, being a wealthy woman, Florence provided financial supported to struggling musicians and the theatre, whose patrons indulged her passion.

Stephen Frears poignant film depicts Florence as a tragi-comic character caught up in her own delusion and effectively draws out the humour within the tragedy. Florence epitomises a 1940’s ‘X-Factor’ hopeful, believing she has the voice of an angel, with her supporters shouting enthusiastic encouragement from the wings. Florence’s delusion becomes clear as she is unable to discern how bad her singing is when listening to her recorded voice. Perhaps her hearing is as poor as many elderly patrons who support her!

Streep gives Florence warmth and heart, playing this dumpy songstress as a flirtatious schoolgirl forever seeking her moment in the spotlight. An accomplished singer in her own right Streep is note perfect hitting all the wrong notes. It is a remarkable display on how to act well while appearing terrible.

Hugh Grant is perfect as Florence’s second husband St. Clair. Gone are the awkward, stuttering utterances so familiar in many of his previous characters. Devoted to Florence he effectively shields his wife from all negative comment, reviews and gossip. He sails through each scene with wit and charm, reminiscent of Cary Grant in the screwball comedies of the thirties. The affection between Florence and St. Clair dispels any notion that he is a gold-digger, even though the relationship is sexless.

Simon Helberg, best known as Howard in The Big Bang Theory, ramps up the humour as Cosme McMoon. Employed to accompany Florence on piano McMoon’s surprised expressions on first hearing Florence’s off-key tones had me aching with laughter. Cosme is young, soft-spoken, effeminate and charming and it is through him that we learn of Florence and St. Clair’s unconventional relationship.

This is a sweet, charming movie that gently ushers you into Florence’s happy world that will leave a smile on your face.

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Eye In The Sky

Eye in the Sky (2015) on IMDb

Directed by Gavin Hood. Stars Helen Mirren, Aaron Paul, Alan Rickman, Barkhad Abdi, Iain Glen, Monica Dolan, Phoebe Fox. 102 mins.

Col. Katherine Powell, a military officer in command of an operation to take out militants planning a terrorist attack finds the mission compromised when a nine-year old girl is seen playing in the ‘kill zone’.

Director Gavin Hood effectively builds the tension as the dispute over when to engage escalates to the highest level of US and British Government. Skilfully the film explores the moral, political and personal implications of modern warfare involving drone strikes. The movie is very well paced and events happen almost in real time.

A flawless cast, led by Helen Mirren as Powell, ably supported by Alan Rickman as Lieutenant General Frank Benson. This was Rickman’s last on-screen role and it is fitting that he flawlessly delivers the last, and best line of dialogue, in the movie. Having moved on from Breaking Bad, Aaron Paul delivers one of his best performances as conflicted flight operative Steve Watts. He has to launch the ‘seek and destroy’ missile thousands of miles away from the combat zone and ultimately decides to halt the mission and throw the rule book at Powell. Following his superb performance as the hijacker in Captain Phillips, Barkhad Abdi is convincing here as agent Jama Farah, facing the enemy on the ground while operating futuristic drones in the form of robotic humming birds and flying bugs. (Do these things actually exist?)

The tension is eased in part by Iain Glen’s UK Foreign Secretary, caught with a stomach bug, and forced to take a life-or-death call while on the loo in his hotel room. Similarly the US Secretary of State insists the Brits stop interupting his game of ping pong with the Chinese and just get on with it.

Guy Hibbert’s intelligent, dialogue heavy script does not distract from the action or the increasing tension as the issue surrounding collateral damage leads to heated debate between military personnel and politicians. A rare drama that explores the physical effects of war and its consequences.

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Hail, Caesar!

Hail, Caesar! (2016) on IMDb

Written and Directed by Ethan Coen & Joel Coen. With Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Scarlett Johannsen, Tilda Swinton, Frances McDormand, Channing Tatum, Jonah Hill, Veronica Osorio. 106 mins.

The latest Coen brothers movie, set in 1950’s Hollywood, follows a day in the life of studio fixer Eddie Mannix, who receives a ransom demand following the abduction of top studio star Baird Whitlock. The film is not so much a thriller as an homage to the golden era of Hollywood, epitomised by carefully crafted scenes that could have been edited from films of the period. Most affecting is Scarlett Johannsen as Esther Williams look-a-like DeeAnna Moran in a Busby Berkeley-inspired water ballet; Channing Tatum displays incredible versatility as dancing, singing, toe-tapping ‘Kelly-esque’ sailor Burt Gurney. George Clooney gloriously parodies himself as studio star Baird Whitlock, cast as a Roman centurion in the studios prestige picture, Hail, Caesar! – a pastiche of the overblown religious epics of the day.

What is clear is that writer/directors the Coen brothers have invested much thought and inspiration in interpreting scenes that are both entertaining, humorous and a joy to watch. Cinephiles will derive much pleasure in cross-referencing scenes and characters to other movies. In depicting Hollywood’s golden age, the Coen’s provide insight into a film industry that exhibited total control over the means of production. The studios at the time had an army of writers, directors, technicians and stars who laboured long and hard to deliver the movies audiences craved, many of which have stood the test of time and have come to be regarded cinema classics.

It is appropriate then that Hail, Caesar! is so well cast with an ensemble that resembles the cream of Hollywood’s most talented actors. Alongside the impeccable Clooney, Brolin, Johannsen and Tatum are Alden Ehrenreich, both charming and naive as lasso twirling, rodeo rider Hobie Doyle. Frances McDormand cameos as a hilarious, chain-smoking editor C.C Calhoun whose necktie becomes entangled in the editing machine, almost choking her. It is regrettable that there are so few scenes featuring the wonderful Tilda Swinton in a dual-role as gossip columnists Thora and Thessally Thacker. Such scenes could have livened up proceedings and given the film some much needed madcap humour.

The problem with the movie is that the overarching plot involving the kidnap and subsequent ransom demand for Baird Whitlock is banal and rather tedious, resulting in the action dragging along at a snail’s pace. Not to give too much away this plot is devised around political anarchists intent on sabotaging the capitalist ideals of both the movie studio and western society. Who is behind this is not too difficult to work out and at length the plot does appear rather clumsy and not too original.

From the preview trailer and positive reviews, I desperately wanted to enjoy Hail, Caesar! but was left with the opinion that it could have been much better. Enjoyable in part but lacks that extra sparkle.

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Reflecting on The Oscars 2016

The 88th Academy Awards Ceremony may well be remembered as one of the most controversial of recent years but, given host Chris Rock’s performance of a lifetime, be regarded as one of the best.

As usual, here in the UK its difficult to talk about all the nominees and winners given that it has not been possible to see them all. That said there were several surprises, some certainties and a few shocks. The latter being that neither sci-fi epics The Martian or Star Wars: The Force Awakens received a single award (unless in some obscure category!) The other shocking fact is that composer Ennio Morricone, receiving the Original Score Oscar for Tarantino’s The Hateful Eight, has never received an Oscar before. This, a composer with over 500 composer credits to his name that include some of the most memorable in cinema history: The Good, The Bad and the Ugly, Once Upon a Time in the West, Days of Heaven, The Mission, The Untouchables. Then again the Academy has a history of overlooking the greats: Hitchcock, Kirk Douglas, Orson Welles, Marilyn Monroe, Fred Astaire, Richard Burton to name a few.

The surprise of the evening was that Academy voters were so unanimous in their praise for  George Miller’s Mad Max: Fury Road which garnered six statuettes including sound mixing, sound editing, production design, editing and costume. This is the kind of movie the academy normally overlooks, going for the more prestigious projects. Fury Road was undoubtedly one of the highlights on cinema screens last summer and a film that I believe had great appeal whatever your age. Its depiction of a dystopian future was just a little too believable for comfort. My only disappointment was that both sound mixing and effects went to Fury Road as I considered the sound mix in The Revenant to be far superior.

I was also disappointed that Liz Garbus’ wonderful documentary What Happened, Miss Simone? while nominated, failed to receive any awards at both the BAFTAs and the Oscars.

But then enough of the also rans and onto the winners (though I admit that all the nominees are also winners!). Of course, Emmanuel Lubezki’s breathtaking cinematography on The Revenant outshone its fellow nominees. In both the original and adapted screenplays it was the catholic child abuse scandal in Spotlight and the financial crisis of The Big Short that received the nod. The Big Short excelled here in attempting to explain a dull, lifeless subject in a humorous and down to earth manner. What I find difficult to accept is that voters opted for Mark Rylance over Christian Bale or Mark Ruffalo for supporting actor. As I have stated in previous reviews I don’t see the brilliance of Rylance’s performance other than his quiet, laboured and contemplative demeanour. Compare this to the brash, manic, off the wall personification of Bale’s financial genius in The Big Short or Ruffalo’s measured, balanced investigative reporter in Spotlight. Ruffalo could easily have been billed a lead actor in Spotlight given the amount of screen time he has.

It was good to see Alicia Vikander named Best Supporting Actress for The Danish Girl. The difficulty of this role is that the supporting actor realises the focus is constantly on Eddie Redmayne’s transgender character but Vikander eloquently established Gerda’s understanding and pain. The only other stand-out performance in this category was Kate Winslet who had already received the BAFTA as Joanna Hoffman in Steve Jobs. In all her roles Winslet is usually recognised as herself but what I loved about her role in Steve Jobs was that I was part way into the movie before I realised she was the actress behind the character.

The Academy followed BAFTA in awarding Best Actress to Brie Larson for Room. This was a difficult one to call given that all the nominees were so accomplished and gave such brilliant performances in their respective parts. Personally I found Larson’s performance overshadowed in Room by the brilliance of young Jacob Tremblay as her son Jack who stole every scene he appeared in.

It was a little disappointing to see Spotlight receive the Best Picture Oscar over The Revenant, but then academy voters tend to prefer issue based dramas. But of course the night belonged to Leonardo diCaprio, receiving his first Oscar for The Revenant. This award is so long overdue for an actor who, throughout his career has excelled in every role he has had. It can only be hoped that this is the first of many Oscars that will adorn his mantle as he has been, and will remain for many years to come, at the top of his game. A very well deserved, and popular, win.

Thank you also to Alejandro Inarritu who, in his acceptance speech for Best Director of The Revenant, stated that the colour of one’s skin will one day be as insignificant as the length of one’s hair (or in my case lack of!) This being a reference to the boycott of the ceremony by several black actors in the ‘Oscars so white’ controversy. Black host Chris Rock faced this head on while presenting the show, taking a swipe a Jada Pinkett-Smith stating that her boycotting the Oscars was like him boycotting Rihanna’s panties. He wasn’t invited. He went on the lambast her husband Will Smith’s lack of appearance on the nominee list for Concussion, saying “It’s not fair… I get it. It’s also not fair that Will was paid $20m for Wild Wild West.”

Surely this is a protest that can so easily backfire. The academy, through a voting process that has stood for many years, nominated those actors that academy members deemed worthy of an award. I’m certain many black actors were among these nominees but did not receive sufficient votes to make the short-list. Most likely, as has already been reported, next year will see both black and white faces amongst the nominees. Surely those black faces will wonder whether they are there because of their talent or to fill the quota of black faces to make the Academy Awards appear more inclusive. I know one thing, I would not like to be a black actor nominated next year!!

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Deadpool

Deadpool (2016) on IMDb

Director: Tim Miller. Stars Ryan Reynolds, Morena Baccarin, T.J. Miller, Karan Soni, Ed Skrein, Brianna Hildebrand, Stefan Kapicic. 108 mins.

Deadpool is not your normal superhero movie as is obvious as soon as the opening titles begin. Cast and crew credits are replaced with amusing descriptors. Star Ryan Reynolds is billed as ‘God’s Perfect Idiot’, director Tim Miller ‘An Overpaid Tool’ and the writers ‘The Real Heroes Here’! Once the action begins it is clear that lycra-clad Wade Wilson is no superhero but more an anti-hero determined to avenge those responsible for subjecting him to a rogue experiment. This experiment has left Wilson with new abilities and a twisted sense of humour while robbing him of his boyish good looks.

Script-wise the movie is little more than a verbal onslaught of witty, profanity laden asides focused on sex and masturbation. Star Ryan Reynolds is visually appealing in tight, figure hugging lycra and is both cheeky and irreverent as Deadpool. For once the promotional material didn’t lie in pronouncing him a ‘bad ass, smart ass, nice ass’. The latter features in close-up more than once! Reynolds delivers fast-paced one-liners loaded with self-deprecating digs at the pantheon of Marvel superheroes, Wolverine in particular. Apart from Reynolds there are no recognisable stars here, apart from Morena Baccarin. Nicholas Hoult look-a-like Ed Skrein is an appealing adversary as the sexy, mutilating Ajax.

This is a high-octane, violent movie not without its flaws. The repetitive humour that is initially appealing wears thin mid-way through. This is a basic, underdeveloped plot that gives nothing new whilst the violence/sfx underwhelm. That said this is a film that, with its quick-fire humour, will entertain young adults but have little appeal to the older, more discerning viewer – unless you have a liking for Ryan Reynolds hot ass!

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