A Most Violent Year

This film has a most misleading title. There is very little violence and it doesn't take place over a year. But J.C. Chandor's latest film is a tense and enthralling film about a legitimate businessman who is trying to make a life in a business that is full of crooks.

The film is set in the industrial areas of New York in 1981. Abel Morales (Oscar Isaac) owns a heating oil company and is looking to expand his business so that he is able to ship the oil straight to his warehouses instead of buying them through a middleman. Lately his company has been plagued by the hijacking of his trucks and he thinks it is his competitors, all of whom run less than legitimate business. Despite urging from his wife Anna (Jessica Chastain), Abel refuses to retaliate through violent means. This is due to his company being investigated by Assistant District Attorney Lawrence (David Oyelowo).

Writer/director Chandor has truly proven himself with this film. His previous two films Margin Call (a film about the 24 hours leading up to the Global Financial Crisis) and All Is Lost (a film starring only Robert Redford, who plays a man lost at sea) were both critically acclaimed but didn't get wide recognition from the public due to their esoteric nature. A Most Violent Year follows in this ambiguity and as such might see the same scorn from general audiences. However, this film is masterfully written and delivers on so many levels. The film doesn't lay all its cards on the table on the table from the outset, instead choosing to reveal backstory as it becomes relevant. It becomes apparent that Abel does not hold any criminal ties, despite the vibe that he does. Instead the real power is held by his wife Anna, who you see holds more power than he does.

The film has some very tense scenes which culminate in extremely violent actions, but they come from people who you least expect and are intended upon the unexpected, which really throws you on the back foot. As soon as I realised that this wasn't a straightforward crime drama, I was kept guessing as to what would happen. The whole time you are hoping that Abel comes through the events using his legitimate means.

The film is superbly shot by cinematographer Bradford Young and really captures the feel and look of New York in 1981. The production design is also remarkable. Anna's dresses are all vintage Armani, the cars are all of the era with late 70s Lincolns and the skyline of New York is transformed to be identical of how it was in 81. Alex Ebert's score is rousing and punctuates the tension that is rippling throughout the film.

For me, Oscar Isaac seems to be getting better and better with each film I see him in. Here, you can see the immensely frustrated businessman, with pressure coming at him from all angles. His performance is perfectly revealing and shows Abel's weaknesses as the film progresses. Jessica Chastain's character is likewise revealing and slowly becomes a terrifying character as you discover what she is capable of. David Oyelowo is just a superb chameleon and is fantastic at wholly becoming each character he plays. Albert Brooks is amazing as Abel's lawyer and Elyes Gabel is fantastic as one of the drivers who is constantly getting hijacked.

J.C. Chandor's A Most Violent Year may not be as exciting for some people due to its misleading title, but it ends up being a scary and tense film about a man who just wants to take the most right path in life.

Harrison Ford to return for the Blade Runner sequel

Whether or not you are fan of the 1982 sci-fi classic Blade Runner (I personally don't see what all the fuss is about), you may be interested to know that Harrison Ford is reprising his role of Rick Deckard in a sequel.

The sequel will be set several decades after the original and is directed Denis Villeneuve, who also directed the Hugh Jackman/Jake Gyllenhaal collaboration Prisoners. Ridley Scott will be serving as executive producer on this film and has said that Ford is very excited about the script.

The Second Best Exotic Marigold Hotel

"Why die here, when you could die there!"

John Madden's 2012 film The Best Exotic Marigold Hotel proved to be a funny, surprisingly honest look at the foils of old age, with a strong cast of veteran British actors, and now the sequel, The Second Best Exotic Marigold Hotel has come along with a continuation of the story.

After the success of The Best Exotic Marigold Hotel, Sonny (Dev Patel) looks to expand with a second. Muriel (Maggie Smith) accompanies him to a meeting that could help him secure funding for the new premises, and they agree that she'll do the talking. Back at the hotel, Evelyn (Judi Dench) is considering a career opportunity, whilst Douglas (Bill Nighy) continues his attempts to woo her. After a late night out, Norman (Ronald Pickup) runs into some trouble when he thinks that he's accidentally put a hit out on his girlfriend Carol (Diana Hardcastle), and the hotel welcomes two new guests, Lavinia (Tamsin Grieg) and the mysterious Guy Chambers (Richard Gere).

Though not all goes to plan. Whilst Sonny is juggling the potential new deal, his upcoming wedding and the possibility that Guy is an inspector, an old acquaintance Kushal (Shazard Latif) purchases the new hotel. Then Douglas' ex, the insufferable Jean (Penelope Wilton) arrives.

The writing in the first film was better than this second outing, and whilst its numerous twisting narratives, love-triangles and vast array of Marigold residents are all entertaining, it's missing the volume of humour that was so delightful in the first. The additional characters are well-rounded, and I'm sure that those who find Richard Gere charming will enjoy him here, but they don't really bring anything new to the plot that wasn't already there, grappling with old age, the apparently relaxing, party nature of the Indian lifestyle, etc. What's entertaining with Second Best is seeing the original residents continue on their paths. It's a shame that Tom Wilkinson's character, Graham Dashwood was written out at the end of the first, as he was one of the more interesting members of the ensemble, but there's still plenty of talent, with legends Judi Dench and Maggie Smith the clear favourites, especially when they're squabbling at each other on-screen.

Much like the original, and another recent ensemble piece, Pride, also starring Bill Nighy, The Second Best Exotic Marigold Hotel finds its bearings with an incredibly strong cast and believable characters. Smith continues her role as the straight-to-the-point Muriel, whose dry sense of wit is the source of most of the jokes, with Patel's ambitious, yet pig-headed Sonny a close second. The relationship between Dench and Nighy's shy characters is, although clichéd, the most compelling part of the script, with Madge's love-triangle surprisingly dull. Penelope Wilton succeeds admirably at bringing back the unbelievably annoying Madge, and it was also nice to see Tamsin Greig (Fran from Black Books) in a more substantial film role. 

There's definitely a cinematic advantage to setting a film in India. With some astounding architecture, scenic views and a multitude of vast colours, The Second Best Exotic Marigold Hotel is just as vivid as the first, if not more. The cinematography is complimented by the colourful set design, culminating is an extravagant, if not totally over the top final act. Even if you were somehow bored with the characters, the visuals would get you through to the end.

The original film was a light-hearted but charming comedy that, whilst focused on an older audience, was broad enough in subject matter to be enjoyable for most ages. For the most-part, the same can be said for The Second Best Exotic Marigold Hotel. It doesn't trump the first film, but with such a strong cast, it's still good fun.

Jupiter Ascending

Imagine if you will a crossover between Star Wars and Game of Thrones. Congratulations, you have just thought of a much more intriguing and exciting movie than Jupiter Ascending. The Wachowskis have attempted to craft an engaging sci-fi story and, while I must admit the world the movie inhabits is interesting, they lack the writing ability to make a story that is engaging or one that makes any sense.

Jupiter Jones (Mila Kunis) is an illegal Russian immigrant who lives in Chicago working for her uncle in his cleaning business. In an attempt to make some money by selling her eggs, she is almost killed by aliens (the most stereotypic aliens you can think of), but is saved by Caine Wise (Channing Tatum), a human-dog hybrid, who reveals to Jupiter that Earth was genetically seeded by a family run corporation billions of years ago. Jupiter finds out that she is actually space royalty (the highest royalty one can hope for) and is thrust into the politics of the Abrasax family, which includes Balem (Eddie Redmayne), Kalique (Tuppence Middleton) and Titus (Douglas Booth), all of whom are fighting over the ownership of Earth.

This movie's plot is all over the place and that has to do with the amount of detail which is just brushed over. We have no idea about where the space people came from (they do identify as human) or how their civilisation works. It is mentioned that the Abrasax family is one of many that inhabit the universe, but we never get a glimpse at any of these. On the upside we do get an extended montage of "space bureaucracy" that is trying so hard to remind us of Terry Gilliam's Brazil. In the hands of a much better writer, this world would be an amazing setting for a series of sci-fi novels that would be able to go into the deep detail needed for all this plot.

There is also a glaring problem with Jupiter's backstory. In the prologue, we are told that Jupiter's father was the son of the British Ambassador to Russia and her mother and father live in quite a nice apartment. But in the scene that comes after her father's death, her mother is on a container ship, being smuggled into America. So many things wrong here. Why wouldn't the father-in-law take them in? Being an ambassador is quite a revered diplomatic position and he couldn't have ensured their safe passage anywhere in the world. Even if he disowned them, Jupiter's mother had enough money to be able to get to America. Sure the prologue takes place in Soviet Russia, but the way they were living exceeded the middle class of Russia at the time.

As for the acting of this film, I don't really know what to say. All the actors do an adequate job of portraying their one-dimensional characters. Jupiter had the potential to be a strong female protagonist, but just ends up being another damsel to be saved by Channing Tatum. Now his character is just as boring. We know nothing of the science behind the character, although they mention gene-splicing more times that I care to count. And Sean Bean. Don't even get me started on him. We all know he is good for one thing and one thing only; dying. And yet they don't let him live up to his potential. What a waste.

There is hope, however. Very recent Academy Award Winner Eddie Redmayne has made some incredible, if not strange, acting choices in his career. But none have been as genius as the choices made in this film. He looked at the poorly written Balem Abrasax and his minimal screen time and wondered how could he work his magic. Well, magic is the right word for it. In each scene, he mumbles through his lines, making you lean in to grasp the nuances of his delivery of each line, before shouting at all of us the crux of each scene, which nine out of ten times is "Bring her to me!" or a variant thereof.

I really wish this was a series of books because I would enjoyed it. Too late now. The only thing saving this from a zero score is Redmayne's strange, weird performance. The only character I want to see ever again is the elephant man Nesh. If you've seen it, you'll agree with me.

Trailers Week 33: 22/02/15

Far From the Madding Crowd

Get ready for some old school romance. Based on the novel by Thomas Hardy (not the cool one), it is about a working woman who suddenly becomes rich and is bombarded with suitors for both her land and affections. Starring Carey Mulligan, Michael Sheen, Tom Sturridge and Matthias Schoenaerts. Looks riveting.

Deep Web

This documentary sets out to tell the story of Ross Ulbricht who has been convicted of being Dread Pirate Roberts, the so-called founder of the online drug market place Silk Road.

Growing Up and Other Lies

This comedy is about four guys who decide to walk the entire length of Manhattan in a single day to celebrate their friend leaving New York. Along the way, they find that it is just to find an excuse to make him stay. Starring Josh Lawson, Adam Brody, Wyatt Cenac, Danny Jacobs and Amber Tamblyn.

My Life Directed by Nicolas Winding Refn

A documentary made by the wife of Nicolas Winding Refn during the making of Only God Forgives. Reminiscent of Hearts of Darkness. It also looks at the anxiety that Refn is a sufferer of. And who can forget that Ryan Gosling will be in it.

Backcountry

An idiot couple decide to go on a hike without a map or anyone knowing where they are. Of course things are going to go wrong. Starring Missy Peregrym, Eric Balfour and Nicholas Campbell.

The Cobbler

This latest Adam Sandler movie is about a shoe repairman who gains the ability to become whoever's shoes he puts on. Like with all Adam Sandler movies, let's hold our breath. Or not. However the saying goes. Also starring Method Man, Ellen Barkin and Steve Buscemi.

Infinitely Polar Bear

This comedy is the directorial debut of writer Maya Forbes and is about a family whose father is manic depressive and wants to rejoin the family. Starring Mark Ruffalo and Zoe Saldana. I must say I'm really enjoying the current streak of Mark Ruffalo, especially since he has such an amazing range.

Citizenfour

Whistleblowers occupy a strange part in minds of people. Even if what they are revealing to the public is important and affects every single one of us, they tend to be demonised by political forces who have had the whistle blown on them. With the exception of maybe Julian Assange, Edward Snowden is probably one of the most important whistleblowers of the 21st Century.

Citizenfour is a documentary made by filmmaker Laura Poitras, who had previously made films about the War in Iraq and the aftermath of 9/11. Poitras originally set out to make a film about the intelligence community of the United States, but is contacted by an anonymous person who calls himself Citizenfour through encrypted emails. He says that he will be in Hong Kong for eight days and he has something that he wants to tell her and Guardian journalist Glenn Greenwald (who he had tried to contact unsuccessfully). When they get to Hong Kong, they discover that Citizenfour is an NSA (National Security Agency) contractor named Edward Snowden, who is about to blow the whistle on the US government basically spying on the rest of the world.

The style of this documentary is really engaging. The film doesn't have a clear structure from the beginning, usually you know where a documentary is going because the filmmaker lays it out for you, almost as though the story is told retroactively, but you find out things as Poitras discovers them too. The film also has no narration, which can be a little disconcerting, but we are given information through the emails shared by Poitras and Snowden.

The main crux of the film is the eight days spent in Hong Kong with Snowden and it's here that you learn so much about the man, despite him saying that he doesn't want to share any of his private life in order to protect his loved ones. He stays composed throughout, but you can tell he is nervous about the consequences of his actions. This does extend to both Poitras and Greenwald, who don't return to the US after the story is released.

There are no proper interviews that you would find in a regular doco. Poitras points the camera at both Snowden and his interviewer, either Greenwald or fellow Guardian journalist Ewen MacAskill. This places you in the shoes of Poitras and makes you feel as though as you are in the room as these meetings take place. When Wikileaks founder Julian Assange features in the film, you'd expect a long interview with him about how great Snowden is, instead we get a minute of him arranging a private jet for Snowden to take him from Moscow Airport (where he was residing at the time) to Ecuador or Venezuela (who will give him refugee status).

Citizenfour is a remarkable documentary that really shows how we are being monitored, but also how we are being lied to by the governments who are supposed to be protecting us. I wish I could see the unedited footage of Snowden during the time he was in Hong Kong and all the information that didn't make it to the film.

Rosewater

In 2009, satirical news show The Daily Show conducted an interview with film-maker and journalist Maziar Bahari. Not long afterwards, Bahari was arrested for his connections with the west, the interview serving as just one of the pieces of evidence against him. After meeting with Bahari after his release, Daily Show host Jon Stewart was motivated to translate his story into a film, which became Rosewater.

During the 2009 Iranian presidential election, Maziar Bahari (Gael García Bernal) sees the lack of confidence in the people for current president Mahmoud Ahmadinejad. He's interviewed by comedian Jason Jones (Himself) from The Daily Show in a harmless enough satirical interview, and after Ahmadinejad wins the election, Bahari films the protests that follow. Soon afterwards, Bahari is arrested by a man who smells distinctly of rosewater (Kim Bodnia). He is accused of communicating with American spies, and is incarcerated for 118 days in squalid conditions and under interrogation. 

The story behind Stewart's directorial début is clearly very close to him. Bahari's ordeal is presented through an insightful, and often witty screenplay, but Stewart shies away from too many dark themes. Whether these are required or not, Rosewater certainly feels a bit too 'safe' for a film of it's subject matter. It's at times difficult to empathise with Bahari, not because of cultural-differences or personality conflicts (Quite the opposite. He's portrayed as a very gentle, caring person), but because some of the film-making choices simply dislocate the audience from the character. The often shaky camera work and frequent fast cuts simply don't allow anything to linger on the screen long enough for much of an emotional response. Although I must say, all of these points were not as much of an issue in the second half of the film, perhaps suggesting that the unique tone of Rosewater takes some getting used to.

As I mentioned before, much of the film seems to have been shot handheld, which certainly gives it the stylistic feel of a freely moving journalist. But whilst it's never particularly noticeable or distracting, it became a bit bland after a while. Other parts of the film are shot from low angles, particularly the interrogation scenes, but this too becomes banal. With a tight budget and filming on-location, some of this is understandable but I feel they could have made some more creative filmic choices. On the flip side of things, there are some truly beautiful shots here, such as the introductory montage and many of the establishing shots. The influence of the news and social media on Bahari's outcome is also certainly not understated, with some very effective graphics and montages that add an additional layer to the film. 

Kim Bodnia, whom I first encountered in the extremely well-made Danish/Swedish crime series Bron/Broen (or The Bridge) has the ability to convey the precise tone of each scene with each of his brooding looks. He's one of those underused actors that certainly deserves more attention. I wasn't so sure about Bernal as Bahari at the start of the film, but like the film itself, he improved dramatically over the course of the movie. Shohreh Aghdashloo is also on-point with her poignant portrayal of Bahari's mother's suffering, and I must say that Jason Jones is incredibly accurate in his role as Jason Jones. As for the rest of the cast, well I can't really say anything positive so I shan't say anything at all.

Rosewater is a damn fine attempt at a first film from Stewart. His personal connection with the story and Bahari himself certainly allows him to paint an emotionally coherent portrait of the man and his suffering. But on the other-hand, it lacks the subtle approach that we have come to expect from human-interest films, whilst not really pushing any creative boundaries. It straddles the line between "safe" and innovative film-making.

Selma

Ava DuVernay's latest film Selma is probably one of the best movies about the Civil Rights movement of the 60s and probably the most honest in its portrayal of the brutality suffered by African-Americans in the South at this time. It also shows the outright racism that was accepted at the time and even leaders like Governor George Wallace doing nothing to stop it.

After receiving the Nobel Peace Prize, Dr. Martin Luther King Jr. (David Oyelowo) returns to his home in Atlanta, Georgia to find the next step in his Civil Rights movement. He finds it in the town of Selma in Alabama, where black people are still unable to register to vote, despite legally being able to. King is joined by fellow members of the Southern Christian Leadership Conference (SCLC) to tackle this issue. Meanwhile, President Lyndon B. Johnson (Tom Wilkinson) is nervous about about the tension King being in Alabama is having with racist governor George Wallace (Tim Roth). King and his followers eventually decide to walk from Selma to Montgomery as a peaceful protest.

DuVernay's film is masterfully created and captures the feeling of the time perfectly. Martin Luther King is such an important figure of the twentieth century and it's movies like this one that help expose certain parts of history to mainstream audiences. One problem I do have (and it's only minor), is that the film overuses brutal violence to get it's point across. Whilst it's not absolutely excessive I felt like you could maybe cut out one or two scenes of this and still get the point across about how terrifying it was to live as a black person during these times.

This movie has a huge cast and all of the performances are so amazing. David Oyelowo is so amazing as King that I forgot about all other movies he had been in and could only focus on him. It is so disappointing that he is not up for Best Actor for this movie because I would have chosen him in an instant. While President Johnson's portrayal is slightly inaccurate (he championed the Civil Rights movement and was not against it), Wilkinson brings his talents to the fore and is wonderfully followed round by Giovanni Ribisi.

Carmen Ojogo is superb as King's weary wife and Oprah Winfrey makes a superb cameo as a woman who just wants to vote and demonstrates a mean right hook. Tim Roth made my skin absolutely crawl as George Wallace, but also backs up his ability as a great dramatic actor. Stephen Root is just as despicable as Major Al Lingo who orchestrated some of the more brutal attacks on the peaceful protestors.

Selma is deserving of all the praise it has received. It isn't just an affirmative action film because it justifies the reasons for the Civil Rights movement. Ava DuVernay and David Oyelowo make a superb team and are supported by a fantastic cast.

Our Oscars Picks - 2015

Best Picture

Nominees

• American Sniper
• Birdman
• Boyhood
• The Grand Budapest Hotel
• The Imitation Game
• Selma
• Whiplash
• The Theory of Everything

Jack Thinks:

This year has had some phenomenal movies, both in terms of story and big technical films. While I love both Selma and The Theory of Everything, I think that Birdman will pip Boyhood at the post, just for the sheer fact that it pokes fun at the industry.

Ed Thinks:

There seem to be two big contenders for this year's Best Picture, although The Grand Budapest Hotel could be an unexpected winner. Realistically though, it seems likely to be a close run between Birdman and Boyhood. Whilst Birdman was a fantastic film, my bet is on Boyhood taking the top prize. 

Saul Thinks:

Personally, I'm a big, fat fan of Birdman and Whiplash. The former being a powerhouse of ego and intent, and the latter being a surprise hit of perfect tension and stress. The remaining all stand as biopics in one way or another, with American Sniper being the only one I've seen, and it's insulting that it got nominated over something like Nightcrawler or Trans4mers. But in all seriousness, Sniper and Selma could take it on cultural importance.

Best Director

Nominees

• Wes Anderson - The Grand Budapest Hotel
• Alejandro González Iñárritu - Birdman
• Richard Linklater - Boyhood
• Bennett Miller - Foxcatcher
• Morten Tyldum - The Imitation Game

Ed Thinks:

Again, this is likely to be a very close two-man race between Iñárritu and Linklater. Anderson would also be deserving of the award, but I think the Academy might just hand it to Richard Linklater for his perseverance with Boyhood and his experience as a filmmaker (they look at additional factors like that).

Saul Thinks:

Though I haven't seen Budapest, I know what to expect from Wes Anderson, it works fine enough but is rarely amazing. I've not seen Boyhood but aside from the rather unique conceit of the film, I'd doubt there's anything amazing going on. Foxcatcher isn't coming out in Australia for a little while but I've heard nothing but good things about the way it's made. Personally, I'd of course go for Alejandro G. Iñárritu because every aspect of the direction worked for me, the film was a vision brought to life and told in a unique way.

Jack Thinks:

While we've got some big contenders like Anderson and Linklater (both have been making movies for the better part of two decades), I really feel as though Bennett Miller's super subtle approach to Foxcatcher will steal him the gold man.

Best Actor

Nominees

• Steve Carrell - Foxcatcher
• Bradley Cooper - American Sniper
• Benedict Cumberbatch - The Imitation Game
• Michael Keaton - Birdman
• Eddie Redmayne - The Theory of Everything

Saul Thinks:

Carrell and Redmayne are supposedly shockingly good, and Cumberbatch reliably so. Cooper put in a good performance, but certainly not Oscar-worthy, so to speak. His perfect handling of the minutiae of playing Kyle is apparent, but I kind of think he and Chris Pratt should have swapped roles only because of body types. Michael Keaton steals the show.

Jack Thinks:

This really should be a list of just three actors because I felt that both Carrell and Cooper were playing caricatures of the men that they were portraying. I love Benedict, but his performance may be too subtle for people to grasp. That leaves a terrifying choice between Redmayne and Keaton. On the one hand I have been in the shoes of Redmayne, but Keaton gives such an absorbing performance. With much difficult reluctance, I have to choose Michael Keaton. 

Ed Thinks:

All the candidates gave astounding performances here but the two standouts for me would be Redmayne and Keaton, though Carrell could take it for moving out of his comfort zone as an actor (and putting the audience out of their comfort zones too!). Redmayne's physical performance may be enough, but my guess is that the Academy will finally award Michael Keaton with the gold statue.

Best Actress

Nominees

• Marion Cotillard - Two Days, One Night
• Felicity Jones - The Theory of Everything
• Julianne Moore - Still Alice
• Rosamund Pike - Gone Girl
• Reese Witherspoon - Wild

Jack Thinks:

I've heard excellent things about Marion Cotillard's performance in Two Days, One Night and the same goes for Julianne Moore who I absolutely adore. Witherspoon's previous Best Actress win was a lot more deserved and I don't think her Wild performance was on par with the other's shown here. Rosamund Pike was gloriously evil in Gone Girl and so against character which is what makes her performance so fantastic. But to me it is all about Felicity Jones' performance was so perfect and heart-breaking (and I'm sure emotionally draining), that I have to give my choice to her.

Ed Thinks:

Rosamund Pike gave a career-topping performance in Gone Girl and is very deserving of the award. Felicity Jones is also a strong contender for her powerful depiction of Jane Wilde Hawking in The Theory of Everything. But I think there's no doubt that Julianne Moore will win based on her eloquent and heartbreaking performance in Still Alice.

Saul Thinks:

Rosamund Pike to me is a joy, she's enjoyable in crap (Die Another Day, Doom), was brilliant in one of my favourites of the last few years (The World's End), but in Gone Girl she is captivating beyond measure. But as I said in my review of Still Alice, Julianne Moore plays her role with such totality and she has always been a favourite of mine anyway. I honestly couldn't pick between the two, but will be happy either way.

Best Supporting Actor

Nominees

• Robert Duvall - The Judge
• Ethan Hawke - Boyhood
• Edward Norton - Birdman
• Mark Ruffalo - Foxcatcher
• J.K. Simmons - Whiplash

Ed Thinks:

Before I got the chance to see Whiplash, my eyes were on Ethan Hawke for Best Supporting. It's true that Norton's role in Birdman was one of his best, and both Ruffalo and Duvall gave strong portrayals. But now it seems to me like there's no competition for J.K. Simmons and his fiery performance in Whiplash. Though you never really know with the Academy.

Saul Thinks:

Either Norton's egomaniac or Simmons'...

Jack Thinks:

I spoke at great lengths for my admiration of Ruffalo's great performance and the choices he made with it were among the best in Foxcatcher. Despite Ethan Hawke giving a stunning performance in Boyhood, I am going to have to go with Edward Norton, because he has been nominated twice before for giving amazing performances, and while this is no American History X, his performance in Birdman says something about the industry.

Best Supporting Actress

Nominees

• Patricia Arquette - Boyhood
• Laura Dern - Wild
• Keira Knightley - The Imitation Game
• Emma Stone - Birdman
• Meryl Streep - Into The Woods

Jack Thinks:

Patricia Arquette is definitely my pick for this category. I found that all the actresses played passive characters in their respective films and therefore they put in performances that served their means. Arquette plays a strong and real character that I know many people can relate to. Emma Stone may come close, but she didn't do enough in my eyes.

Ed Thinks:

Nobody deserves this as much as Patricia Arquette for her tough and honest depiction of an often single mother in Boyhood. I'm not quite sure why Streep was nominated for this one and whilst Stone was a charismatic stoner, all my money (if I was betting) would be on Patricia Arquette.

Best Original Screenplay

Nominees

• Alejandro G. Inarritu - Birdman
• Richard Linklater - Boyhood
• E. Max Frye and Dan Futterman - Foxcatcher
• Wes Anderson and Hugo Guinness - The Grand Budapest Hotel
• Dan Gilroy - Nightcrawler

Jack Thinks:

This one is definitely black and white for me. Birdman and Boyhood were both movies that emphasised the style in which they were made, as well as The Grand Budapest Hotel, which focuses more on Wes Anderson's quirks and visuals. I find it strange that Foxcatcher is in the Best Original category because it is a true story and as such I'm disregarding it. Dan Gilroy's Nightcrawler is the best choice because (and bold claim here) it would have been great without Gyllenhaal's performance.

Ed Thinks:

This is a tough one, Iñárritu's script had clashing egos and inner monologues, Gilroy's had clever dialogue, but I'd say that Wes Anderson and Hugo Guinness would be the most deserving for the quirky and inventive world they created with the Grand Budapest script.

Trailers Week 32: 15/02/15

Aloha

Veteran writer/director Cameron Crowe teams up with Bradley Cooper with a film where a Air Force legend has had a breakdown and is trying to put his life back together. Also starring Emma Stone, Bill Murray, Rachel McAdams, John Krasinski, Alec Baldwin and Danny McBride.

The Man From U.N.C.L.E.

Guy Ritchie is helming this adaptation of the classic 1960s TV show starring Robert Vaughn and David McCallum. In it, CIA agent Napoleon Solo must team up with Soviet spy Illya Kuryakin to save the day. It looks like a lot of fun. Starring Henry Cavill, Armie Hammer, Alicia Vikander and Hugh Grant.

Last Knights

Not quite sure what's going on here. I think Clive Owen is playing the last surviving knight from an order of particularly badass nights and is going up against an evil empire. Maybe? Also starring that age old seer Morgan Freeman.

Trainwreck

This rom-com may sound formulaic; girl who has grown up telling herself not to be monogamous all of a sudden falls in love, but when you see who's involved, your hopes will be as high as mine. Directed by Judd Apatow and written by hilarious comedian Amy Schumer, it stars Schumer, Bill Hader, Brie Larson and Colin Quinn.

Jauja

A father and daughter travel from Denmark to a strange desert, where the daughter is abducted. Shot in the style of a 1960's western, this movie from Lisandro Alonso looks stunning. Starring Viggo Mortensen.

Straight Outta Compton

This biopic about pioneering rap crew N.W.A. is produced by Dr. Dre and Ice Cube themselves, so it should be alright. Follows the rise and fall of Compton in the late 80s-early 90s. Starring O'Shea Jackson Jr, Corey Hawkins, Jason Mitchell and Paul Giamatti.

Regression

Emma Watson gets haunted in this spooky film from Spanish director Alejandro Amenábar. Also starring Ethan Hawke and David Thewlis.

Hitman: Agent 47

A reboot of the Hitman franchise (would you call one movie a franchise?). It looks like they still can't grasp that the focus of the games are stealth, so therefore the movies should be to. Starring Rupert Friend and Zachary Quinto. I still think Timothy Olyphant has the better voice for 47.

Hot Pursuit

Reese Witherspoon and Sofia Vergara star in this movie about an ambitious cop and the states witness she is trying to protect so that she can testify against a cartel lieutenant. I think Jim Gaffigan's character needs his own movie.

Kingsman: The Secret Service

Matthew Vaughn has achieved critical and commercial accolades in recent years for his entertaining adaptations of cult comics and graphic novels. His previous efforts, X-Men: First Class and Kick-Ass, are smart, often employ good humour, build upon pop-culture knowledge and contain good action buoyed by heavy CGI use. The violence used in Vaughn's films is prominent, and his approach is extra-ordinary, so much so that it's brutality can clearly be considered an integral part of his style. This is perhaps the main feature that will separate Kingsman from it's contemporaries in the soon-to-be crowded spy-comedy sub-genre.

In recent years adaptations of comics like Kingsman: The Secret Service have become commonplace, mind-numbingly so. There are the success stories and cult hits like Men In Black, Road to Perdition, Kick-Ass, Sin City, Scott Pilgrim, 300, but more often are the forgotten and ill-conceived such as The Losers, 30 Days of Night, Wanted, Surrogates, Red, The Rundown. But Kingsman will be remembered for some time. It's smart, sweary, violent, and loyally devoted to modernising and stylising classic spy films, particularly Bond, of course, with a an eye for comedy and reference. Vaughn has stated that he was influenced by the manner Indiana Jones was made for modern audiences and hoped to achieve a similar effect.

Gary "Eggsy" Unwin is a young cocky troublemaker living with his Mum and her gangster boyfriend in a poor flat complex in London. After getting into trouble with the police, he uses a code and phone number imprinted on his medallion, the only memento from his father who died mysteriously when Eggsy was a toddler, to bail himself out. Doing so Eggsy unintentionally summons Harry Hart, a.k.a Galahad, a smartly dressed man who declares himself to be a tailor and informs Eggsy that his father saved his life. Hart then recruits Eggsy into the Kingsman program, a modern day melding of the Knights of the Round Table with the flair and resources of Ian Fleming's famous espionage firm. Meanwhile, an eccentric billionaire communications mogul and his assistant (sporting sword-like leg prostethics) begin to kidnap prominent scientists and world leaders while simultaneously unveiling a new free mobile and network, which draws the attention of the Kingsman.

Kingsman is a shockingly violent film, containing extended set pieces resplendent with glassing, gun violence, bone-breaking and limb dismemberment, and in the first 10 minutes even a head-to-toe dissection. Funnily enough, and in contrast to recent bouts of extreme violence in unexpected films such as The Interview, Kingsman is largely bloodless. Obviously this is likely a combination of the wider production trend of adding CGI blood effects during post-production (see The Expendables series) and used to appeal to censors for a more commericially viable rating, but this appears in contrast to the unrestrained take on language used by Eggsy and Galahad. Though the language fits more into the films broader commentary on gentlemently dignity and behaviour that is the source of much of the comedy. In either case, the action is well-staged, Colin Firth and the stunt team of Kingsman really steal the show from Taron Edgerton's Eggsy. Firth performs much of his own stunts, though often he and the camera go beyond their usual capabilities. Firth morphs first into a CGI rendering of himself and then into one of his stunt doubles and back, whereas the camera performs zooms and digital edits that do help the flow and dynamism of the fights, particularly the pub and church fights. The use of POV shots during gunfights, Gazelle's prosthetic sword-legs and the trippy and artful method of eradicating Valentine's henchmen army in a single fell swoop also add oodles of flair to the well-choreographed action.

For all its flash and folly, Kingsman is ultimately as much of a homage to the spy films of old as Austin Powers is. Numerous direct and indirect references to the Bond and Bourne films as well as the influence of both plain on the film's style, with Jackson and Firth are the main offenders through their near constant references and mentions, though slightly more subtle aspects like the interior design of Valentine's secret base being similar to the one in You Only Live Twice, or the scope Valentine's attack being as grand as in Moonraker. At the risk of spoiling the final act, Kingsman's villainous plan fits in appropriately with contemporary society. Instead of a simple threat of terror and attack, Valentine's plan is to aggressively combat climate change by forcibly culling the population through the use of a signal emanating from his company's mobile phone that forces the aggression centre of a persons brain into overdrive. It's a brilliant tactic and affect as the film depicts mass carnage in a 28 Days Later-style effect, and the combination of mobile technology and environmental awareness really cements the time period.. Unfortunately, the Kingsman have little reason to stop it aside from a lot of people dying, and there's very little debate. It's also during these scenes it becomss clear that Kingsman has problems with it's female characters. Earlier in the film, Eggsy's Mum, Roxy and the assassin Gazelle are all strong, yet underwritten characters, but during the finale a shift occurs with the former two. Eggsy's Mum has a few shots dedicated to her and her baby in an attempt to personalise the plight of Valentine's rage-inducing attack and Roxy's role in the finale is reduced to riding a balloon into the upper atmosphere, where Mark Strong's Merlin activates a missile on her behalf from her rig that's attached to the balloon, then she promptly parachutes back to Earth and rings Eggsy's Mum. During that time Eggsy, who is not a member of the Kingsman fights an army of henchmen, Gazelle and Valentine and ultimately saves the world. Seeing Eggsy's heroic actions intercut woth Roxy standing in one spot and talking on a phone emphasises the creeping feeling that these two female roles were after-thoughts shot after principal photography ended. It's really very grating to see two of the main female voices in this film written into these corners, especially when Roxy has a great set-up. But the most baffling and repugnant treatment is saved for the immediate aftermath of Valentine's defeat, which is played for comedy, but makes the Moonraker "I think he's attempting re-entry, sir!" moment look regal by comparison.

Smart, funny, and inventive with it's action and violence, Kingsman moves well beyond it's basic existence as Alex Rider: Stormbreaker meets Kick-Ass. It has plenty of flaws, but has enough fun and flair to impress.

What We Did on Our Holiday

Just like it's cousin, the British comedy series Outnumbered, What we Did on Our Holiday presents a dysfunctional family with hilarious, quirky kids, a strong British cast and plenty of comedy along the way. As the feature-length debut for directors Andy Hamilton and Guy Jenkin, this is a strong start.

Doug (David Tennant) and Abi (Rosamund Pike) McLeod are going through a rough period in their marriage, with a divorce likely immanent. To make things worse they have three difficult kids, the aspiring geologist - and five-year-old - Jess (Harriet Turnbull), the viking-obsessed Mickey (Bobby Smalldridge) and the honest Lottie (Emilia Jones), but they at least seem to understand the situation. However, when the family are to visit Doug's father, Gordie (Billy Connolly) for his 75th birthday in the Scottish Highlands, Doug and Abi want to ensure that Gordie, who is dying of cancer, isn't left to worry about their issues.

When they finally arrive, they are reluctantly greeted by Doug's brother Gavin (Ben Miller), a rich short seller, who has kitted out the house with an expensive automated system. Gavin is meticulously organising the large birthday celebrations with his wife Margaret (Amelia Bullmore). Whilst many tense disputes break out between the brothers, Gordie turns to his grandchildren to take them to the beach, hoping to show them that none of the arguments really matter, and that life is short and should be enjoyed.

As a big fan of Outnumbered I was hoping for a similar plot-setup, and Hamilton & Jenkin certainly borrow from their television roots, but they manage to do so without blatantly rehashing past material. Whilst the three kids have similar traits to their tv counterparts, they come off as distinct individuals, mainly due to the fantastic performances from the trio. The comedic style of What we Did on Our Holiday is inherently clean (surprising for a film starring Billy Connolly), more-so than most family movies, but the back-and-forth between adults and the kids never fails to amuse. When turning to the dramatic elements of the plot, I felt that some of the scenes were a little over done and somewhat cheesy, but they're countered by just as many moments that manage to be quite touching. There's an underlying motif of time and making the most of life, that was at some stages, too blatantly pushed down the audience's throats, yet it contributes to the film's positive ending message.

Most of the dramatic sequences are given to Connolly, who manages them ok, but sometimes by the skin of his teeth. This is certainly not up there with his performances in films like Mrs Brown and A Series of Unfortunate Events, but generally he manages to give an all-rounded display here. Although I couldn't help but think that he could have flourished a bit more if he had some of his favourite non-PG phrases to back him up. It seems unusual to see Rosamund Pike in a light-hearted family movie so soon after her chilling portrayal in Gone Girl, but she's fantastic as usual. Tennant and Miller work well off each other as the quibbling immature adult siblings and Amelia Bullmore provides a surprisingly layered performance. Annette Crosbie was by far my favourite though, bringing the same sturdy and often fiery displays that she made as Margaret Meldrew (One Foot in the Grave) to Doreen.

What We Did on Our Holiday is not going to win any Academy Awards, but with all the recent releases, it's nice to be able to relax with a good light-hearted and undoubtedly funny family film. With great performances and strong characters, it's a sweet movie and great for a lazy afternoon.

"Portlandia" renewed for 2 new seasons

It has been announced that sketch comedy show Portlandia has been renewed for two more seasons with cable channel IFC. Seasons 6 and 7 will consist of 10 episodes each and this renewal makes it one of the longest running comedy shows on cable (although our favourite It's Always Sunny in Philadelphia holds the top position).

If you're not familiar with Portlandia, it is a sketch show created by SNL alum Fred Armisen and punk rocker Carrie Armisen and is a love letter to the Oregon city of Portland and all the weird and wonderful characters that reside in the city. It is directed by co-creator Jonathan Krisel.

Mark Reviews: The Gambler

Hey guys, I'm back. And this time I was in a serious movie because a lot of you guys have been running around saying I'm not a serious actor. But you know what? I am. And you can count your lucky stars that I'm here today to explain it to you, because you probably won't get my ambition of being in a movie like this.

This time around, I play another character which I'm not at all. An English professor. And you better believe that I do it well, because I'm the greatest actor to have ever lived. So what, my character has a gambling problem, you're probably at home watching too much porn.

And because I'm bad at Blackjack in real life, I'm not good in it in this movie. But I make it seem convincing that I know what I'm doing. But still, I end up owing money to Michael K. Williams and some Korean guy.

Even when pissing in public, I'm a better actor than you

You probably already know this, but I don't like working with other people, mainly because I have to carry the film. But I have to say, Brie Larson is a dream. If I wasn't already married with 15 kids, I'd definitely get in there. Not because she's beautiful, but because she's an amazing actress. And when I say in the film that she's a genius, I meant Brie herself and not the character she played. Oh yeah, John Goodman was good too, but hey, I've worked with Burt Reynolds, so what you gonna do.

So I can hear you all saying, "Hey Mark, isn't this a remake of the Jimmy Caan 1978 film?", well let me tell you something, this ain't the first time I've been in a remake before. You may remember I was in a remake of the 1968 film Planet of the Apes and I made that character my own instead of just doing a Charlton Heston impression. See I bet you didn't expect to come and read me doing a pretty good self evaluation of my own performance. You don't need to go Harvard or MIT to get a education these days.

My recommendation for if you are going to see this movie, don't take your brother Donnie because the smarts are just going to go over his head and Ma don't want him gambling no more.

Spider-Man Is An Official Part Of The Marvel Cinematic Universe

Unless you are completely up to date with the politics of Hollywood's studio system, you may not be fully aware of who owns the rights to particular characters. Marvel Studios is in control of most of it's own intellectual properties, Iron Man, Captain America, et al.

But what it doesn't own (cinematically speaking) are some of it's more popular characters, Spider-Man being the important one here (the web-head is currently owned by Sony). What this generally means is that he is unable to appear in other movies featuring Marvel characters, like his good friends The Avengers.

Today, however, a historic decision to share the character between studios has been made. This means that Kevin Feige, Marvel Studios' producer will get on board for the next Amazing Spider-Man movie due it 2017. It also means that Spidey will appear in a Marvel movie before then, with titles like Captain America: Civil War or Doctor Strange, being the film he will be in.

If only the X-Men could be brought in on it all.

Classic Movie Review: Forbidden Planet (1956)

This is going to be a wildly controversial statement, but Forbidden Planet is probably the most important science fiction movie of the 20th century. It's influence can be seen in many of the major sci-fi movies and TV shows that would follow and it's also a spectacular feat of filmmaking in it's own right.

The crew of spaceship C-57D is sent to the planet Altair 4 to discover what happened to a colony that set up there 20 years prior, but has had no contact with Earth since. Commander John Adams (Leslie Nielsen) insists on landing despite warning from Dr Morbius (Walter Pidgeon), who claims to be the lone survivor of the colony. Once they land, they are met by Robby The Robot, who transports Adams, Lieutenant Farman (Jack Kelly) and Lieutenant Doc Ostrow (Warren Stevens) to the home of Morbius.

Dr Morbius reveals that a mysterious "natural force" wiped out everyone in his crew and destroyed the planet. The only other person left is his daughter, Altaira (Anne Francis). He also recounts to the men the story of the Krell, an alien civilisation who inhabited the planet 200,000 years ago, showing them the super-advanced technology that could be very advantageous to Earth, but also tells them that it would be too advanced for Earth.

Forbidden Planet was the first big budget Hollywood sci-fi movie that was ever made. Up until this time, sci-fi movies were small budget drive-in style movies that would be shown with another film and were mostly poorly made. Forbidden Planet on the other hand is a masterfully made film. Even though it is still shot on interior sets, it is one of the first movies to be shot on widescreen colour. This was at a time when Hollywood was afraid of the competition of television and this was MGM's response to that. There is an animated monster that comes in one scene that blends seamlessly with the actors and environment.

This movie influenced film and TV for the most part of the century. The overt influence on TV series such as Star Trek and Lost In Space is apparent, with the latter having a bigger connection to this film. Robert Kinoshita, who built Robby The Robot, went on to become the art director on Lost In Space, with that show's robot and spaceship, the "Jupiter 2", being a complete copy inside and out of the C-57D. You can also see the influence this had on Star Wars, maybe not in design, but definitely in structure and sci-fi elements.

A young Leslie Nielsen and Anne Francis

The acting for the most part is unremarkable, but performances from Nielsen, Pidgeon and Francis are superb. It is almost bizarre to look at a young Nielsen, who is nigh on unrecognisable and is in a serious role. For someone who grew up watching Leslie Nielsen in movies like this, his performance here is amazing. Walter Pidgeon is fantastic as the mysterious Dr Morbius and Anne Francis, although playing a damsel in sort of distress, does give a decent performance. She probably has the most racy scene in the whole movie, as she goes swimming naked in a pool.

Forbidden Planet is a fantastic film to watch, primarily because it is a marvel of filmmaking and the fact that it has influenced so much pop culture all the way up to Futurama.

Trailers Week 31: 08/02/15

Paul Blart: Mall Cop 2

I'm only showing this trailer for the sheer cringe-worthiness of it. Only watch the trailer, not the film, to see Kevin James struggle through another paycheck.

Cut Bank

This thriller from director Matt Shakman is about a small town man who films the death of a mailman and is able to get a large sum as a reward, making him a target of crooks everywhere. Starring Liam Hemsworth, Teresa Palmer, Billy Bob Thornton, John Malkovich and Bruce Dern.

Poltergeist

Why? Just why? 1982's Poltergeist is a super scary movie that will blow your socks off. 2015's Poltergeist will be a shameless tame cash grab. I bet it won't have any scenes of this calibre. Starring Sam Rockwell, Rosmarie DeWitt, Jared Harris and Nicholas Braun.

Magic Mike XXL

This sequel will undoubtably fail to capture the nuances of Stephen Soderbergh's original, primarily because it isn't directed by him. Starring Channing Tatum, Amber Heard, Elizabeth Banks, Matt Bomer and Joe Manganiello.

The Reach

Michael Douglas becomes a human hunter after the accidental shooting of an old man while he's out hunting. If you ask me, he developed the hunger. Also starring Jeremy Irvine.

Still Alice

Still Alice is a modern drama focused on Alice Howland (Julianne Moore), a renowned and successful linguistics professor. She lives comfortably in New York with her scientist husband John (Alec Baldwin), though she is often visited by her three grown children, Anna (Kate Bosworth), Tom (Hunter Parrish), and Lydia (Kristen Stewart) who resides in LA. Shortly after her 50th birthday Alice is startled as she begins to gradually lose words and other important details from her life, prompting her to visit a neurologist. She is soon diagnosed with early on-set Alzheimer's and begins to lose her ability to communicate and be herself as her family watches on.

Directors Wash Westmoreland and Richard Glatzer are clearly comfortable with their partnership as Still Alice is their fifth collaboration, and certainly their largest. There are three main filming styles that govern the film and govern it well. There is the keenly framed, tripod-mounted shooting style that dominates the film as it is representative of the lucid Alice and the world of those around her. In direct and simple contrast is the hand-held and/or focus-heavy shooting of the afflicted Alice. Here, Alice is often shot in close or medium with the world around her being heavily blurred, and often she will only enter frame after a momentary delay, as though she is a stranger. The final style is reserved for flashbacks to her childhood, and these appear to be (as far as I am aware) shot on Super 8mm. These are grainy and vibrantly coloured moments that stand out distinctively from the rest of the film. The score is often centred around a piano and its cautiously slow tones too often feel like the blank spots of Alice's mental state.

In many ways Still Alice is not at all surprising to those with even the most cursory knowledge of either Alzheimer's or Julianne Moore's acting ability, but the extent of both of these is. Alzheimer's is notoriously devastating and Moore famously talented, but the totality of both of these realities is confronting. At first Alice carries herself with the signature confidence, self-awareness and casual poise that's indicative of the inspired decision to cast Julianne Moore, but as her disease takes hold and tightens its grip on her, Alice becomes more (or perhaps less) than forgetful. Her posture slackens, her articulation suffers and so does her ability to focus, as stated earlier Moore's totality in this character's situation is moving and talented. Moore's performance, and the film by extension, treat Alzheimer's without reverence, hate or kid gloves. As Alice herself states in a captivating speech at the end of the second act, "I am not suffering, I am struggling." The supporting cast consisting primarily of Baldwin, Stewart and Parrish as Alice's family struggle alongside. Baldwin especially impresses quietly with his devastation and helplessness apparent in the bevy of short glances he gives Alice's way as she forgets to be who she is. In many ways the woman he loves is dying before his eyes and Baldwin's reaction as John are simply crushing. Within Alice's family there are brimming grievances, but overall no great dramas and barely a classic dinnertime feud, though perhaps because the narrative is so focused on Alice these would become intrusive. Either way, the film's steadfast perspective of Alice is more than enough.

Still Alice doesn't have a clear ending, but rather the closing titles appear and close the audience's perspective on her life, mirroring the effect of the disease. This is a film carried on Moore's capable shoulders, that appropriately and maturely examines a complex familial scenario. Absolutely a must for those in the mood to learn and cry.

Mortdecai

As we are in the midst of awards season for movies, there seems to be an expectation that every movie that is released at the moment has to be better than the last and by doing so we forget that movies also serve as entertainment. Whilst David Koepp's Mortdecai may not win any Oscars, BAFTAs or Golden Globes, it is a very fun movie and I feel like I need to see a good fun one every once in a while.

Charlie Mortdecai (Johnny Depp) is an aristocratic art dealer who has fallen on some financial hard times and is only days away from complete insolvency. After the murder of a painting restorer, he is enlisted by MI5 agent Inspector Martland (Ewan McGregor) to hunt down the killer. So with his trusty manservant Jock (Paul Bettany) in tow, they set off in search of the painting. Meanwhile, Charlie's wife Johanna (Gwyneth Paltrow) begins her own investigation into the missing painting.

One thing I think this movie suffers from is an overcomplicated story. There are parts where I felt as though it was tripping over plot points just to get to some laughs that occasionally fall flat. However, I did find that the characters were suitably well rounded enough to feel them as real people. The movie also takes a lot of time in its transitions to the parts of the world that it takes place. Every time we change city (or even a different part of the same city) we get an animated fly-over of the globe, which I felt worked once, but every time after that was just annoying.

The performances were all fun though. All the actors were playing against type, except for Depp. His usual hammed up performance came in handy here, making himself slightly effete and terribly in love with his freshly grown moustache, which he checks in a mirror of some sort every five seconds. Paltrow has a fun time playing his long suffering wife, although I can't see why she is still together with Mortdecai (and yet at the same time I can). Ewan McGregor's character has been in love with Johanna forever, which I thought was a fun touch to a character whose main job is to give exposition and therefore can be a tiny bit tedious.

The supporting cast is great too. Paul Bettany, normally quite a dramatic actor, plays the rather stiff but reliable manservant Jock and is just a joy in any scene. Jeff Goldblum turns up for a few scenes but the amount of screen time he gets is tantamount to murder. Olivia Munn plays his nymphomaniac daughter but has nothing really to do but be a provocative character.

All in all Mortdecai may not be the best movie out right now, but it surely is a relief from some of the more emotionally invested movies that are out at the moment. I am a huge fan of slapstick and I felt as though this had some fun moments of that.